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ON PUBLIC VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE, 6 EAST 23rp STREET 


BEGINNING THURSDAY, JANUARY 25tTu, 1917 
AND CONTINUING UNTIL THE TIME OF SALE 


ENGRAVINGS AND ETCHINGS BY THE MASTERS 


MODERN MEZZOTINTS PRINTED IN COLORS 
FROM COLLECTIONS OF NOTE AND IMPORTANCE 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF THE VARIOUS CONSIGNORS REFERRED TO HEREIN 
ON MONDAY, TUESDAY AND WEDNESDAY 
JANUARY 29TH, 30TH AND 31st, 1917 


AT 8:15 O’CLOCK IN THE EVENINGS 


AT THE AMERICAN ART GALLERIES 


_ 


? 


ANDERS ZORN 
Eventnc,—BaicnevusE dE Dos.—Delteil, No. 108 
[See No. 492 in this catalogue | 


ILLUSTRATED CATALOGUE OF 
ENGRAVINGS, ETCHINGS AND MEZZOTINTS 
FROM COLLECTIONS OF NOTE, INCLUDING THOSE OF 
H. V. JONES, Esq., oF MINNEAPOLIS, MINN. 
Mrs. MARGARET F. EVERIT, oF Newark, N. J., AND 


THE LATE Mrs.WILLIAM H. REID, OF NEW CANAAN, CONN. 


TO BE SOLD WITHOUT RESERVE OR RESTRICTION 
BY ORDER OF THE VARIOUS CONSIGNORS REFERRED TO HEREIN 
ON MONDAY, TUESDAY AND WEDNESDAY, JANUARY 29rn, 30TH AND 31s1 


AT 8:15 IN THE EVENINGS 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK CITY 
Rea 


- 


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IMPORTANT AND INTERESTING INFORMATION  RE- 
GARDING THE VARIOUS COLLECTIONS OF ETCHINGS, 
ENGRAVINGS AND MODERN MEZZOTINTS 
HEREIN CATALOGUED 
TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
JANUARY 29th, 30th and 31st, 1917 
UNDER THE MANAGEMENT OF 


THE AMERICAN ART ASSOCIATION 


The Etchings and Engravings forming the collections consigned to 
the Association by H. V. Jones, Esq., of Minneapolis, and Mrs. Margaret 
F. Everit, of Newark, New Jersey, together with a few noteworthy addi- 
tions from other private sources, comprise important examples of XVIth, 
SVIITH, XVIIIth and XIXth century Masters. The greater 
number of impressions are PROOFS SIGNED BY THE ARTISTS, MANY ON 
JAPAN oR INDIA PAPER, SEVERAL BEING RICH PROOF IMPRESSIONS OF FIRST 
OR EARLY sTaTeEs of the plates. The collection formed by Mrs. Margaret 
F. Everit, is one of the finest for its size ever offered at public sale in 
America, the plates being all of the best possible quality, both as to 
impression and condition. 

The collection of mezzotints printed in color, formed by the late 
Mrs. William H. Reid, of New Canaan, Connecticut, includes examples 
of nearly all the best modern engravers in this style; among others being, 
—S. ARLENT EDWARDS, SYDNEY E. WILSON, E. GULLAND, 
FRED MILLAR, CHARLES BIRD, CLIFFORD R. JAMES, and 
E. MILNER. Most of the engravings are now out of print, and many 
are quite unobtainable. All the prints are in perfect condition, free 
from all spots, and are artistically framed in gold or bronze frames. The 
subjects after Hoppner, Lawrence, Raeburn, and Reynolds are particu- 
larly beautiful and pleasing. 


The etchings by JAMES ABBOTT McNEILL WHISTLER rank 
in quality and condition with those in the General Brayton Ives collec- 
tion, many of the plates being EARLY IMPREssIONS, and PROOFS ON JAPAN 


or InpIA paper, and include, a complete series of the “Frencu Set,” 
SEVERAL OF WHICH ARE EARLY STATES; SIGNED ARTIST’S PROOFS, with the 
“Butterfly” signature of the following,—‘Battersea Bridge,” “Nocturne: 
Palaces,” “The Riva No. 2,” “Chancellerie Loches,” *“Becquet,” and 
“Rotherhithe;” also, a RICH PROOF IMPRESSION ON JAPAN PAPER OF “T'he 
Kitchen.” 

Among the more noted examples of the works of ANDERS ZORN 
may be mentioned the following,—‘Henry Marquand,” “Evening— 
Baigneuse de Dos,” “Mlle. Maya Von Hetjne,” “Mlle. Emma Rassmus- 
sen,” “Mona,” “Circles in the Water,” and “Seaward Skerries.’ Att 
ARE SIGNED ARTIST’S PROOFS, AND BRILLIANT IMPRESSIONS. 

SIR FRANCIS SEYMOUR HADEN is represented by 28 different 
subjects, among the more notewor thy being the following si¢nep artist’s 
PROOFS,— Kensington Gardens” (both large and small plates), “Mytton 
Hall,” “Early Morning, Richmond Park,” “A By-Road in Tipperary,” 
“Shere Mill Pond,” “Sunset in Ireland,” “Breaking Up of the Agamem- 
non,” “Calais Pier,’ “A Lancashire River,” and “Early Riser.” 

The etchings by DAVID YOUNG CAMERON comprise 81 different 
subjects, including the following st¢nep artist’s proors,—‘The Palace 
of Joannis Darius,” “Ca D’Oro,” “Elcho on the Tay,” “The Doge’s 
Palace,” “Chartres,” “Old Sawmur,” “The Desert,” “The Mosque Door- 
way,” and “Street in Cairo.” ALL ARE FINE IMPRESSIONS. 

Among the plates by CHARLES MERYON are the following, aru 
FINE IMPRESSIONS AND OF THE GREATEST RARITY,— ‘Rue de la Tivxeran- 
dere,” “Abside de Notre Dame,” and “Le Pont au Change.” 


Other famous etchers and engravers represented by examples of 
their work, include the following,—_FELIX BUHOT, ALBRECHT 
DURER, GILLES DEMARTEAU, DONALD SHAW McLAUGHLAN, 
REMBRANDT VAN RIJN, FRANK SHORT, J. M. W. TURNER, 
and ALPHONSE LEGROS, the latter being represented by four stGNEp 


ARTIST’s PROOFS of his best works. 


Attention should be called to the Monographs by Rinder on “Cam- 
eron,” and Harrington on “Haden,” both works of great importance, and 
to the brochures and other works by and about Whistler. 


STATEMENT AS TO OWNERSHIPS 


The property herein consigned consists of either the whole, or a 
part of the collections of the following,— 


H. V. JONES, ESQ., of Minneapolis, Minnesota. 

MRS. MARGARET F. EVERIT, of Newark, New Jersey. 

The late MRS. WILLIAM H. REID, of New Canaan, Connecticut. 
Sold by order of William H. Reid, Esq., Executor. 

The late JOHN HENRY OSBORNE, of Auburn, New York. 

JAMES C. McGUIRE, ESQ., of New York City. 

STANLEY LUTWYCHE, ESQ., of Brighton, England. 

A WELL-KNOWN NEW YORK BANKER. 

A NEW YORK COLLECTOR. 

A NEW YORK COLLECTOR, Sold by order of an agent. 

AN ENGLISH COLLECTION. 


The items belonging to each consignor are set down in the following 
schedule,— 


The property of H. V. JONES, ESQ., of Minneapolis, is herein 
catalogued under Numbers,—111, 112, 113, 114, 115, 116, 117, 118, 
119, 125, 124, 125, 126, 127, 180, 181, 1383, 184, 185, 186, 137, 138, 
139, 141, 142, 145, 146, 147, 148, 149, 150, 152, 154, 156, 157, 159, 
Popol ete. 176, 177, 179, 181, 182, 183, 184, 185, 190, 192, 194, 
195, 197, 199, 203, 205, 208, 209, 211, 213, 214, 214a, 215, 216, 217, 
218, 220, 221, 222, 225, 226, 227, 228, 229, 230, 281, 2382, 233, 234, 
238, 241, 243, 244, 247, 249, 250, 251, 252, 253, 255, 256, 257, 258, 
260, 261, 263, 264, 265, 266, 267, 268, 269, 2771, 2772, 2'73, 274, 275, 
276, 277, 278, 279, 280, 281, 282, 288, 284, 285, 286, 287, 288, 289, 
292, 298, 294, 295, 297, 299, 302, 308, 304, 305, 306, 307, 308, 309, 
310, 311, 312, 313, 314, 315, 316, 317, 318, 319, 320, 321, 322, 324, 
325, 327, 328, 332, 333, 334, 335, 336, 337, 338, 339, 340, 341, 342, 
343, 344, 345, 346, 347, 348, 349, 3850, 351, 352, 353, 354, 355, 356, 
357, 358, 359, 360, 361, 362, 363, 365, 366, 367, 368, 369, 370, 371, 
372, 373, 375, 376, 377, 378, 379, 380, 381, 382, 386, 387, 388, 389, 
390, 393, 395, 396, 397, 398, 399, 400, 401, 403, 404, 405, 406, 407, 
408, 409, 412, 418, 414, 415, 416, 417, 418, 419, 420, 421, 422, 428, 
424, 425, 426, 427, 428, 439, 4538, 454, 458, 459, 460, 462, 464, 483, 
484, 485, 486, 487, 488, 489, 495, 498. 


The property of MRS. MARGARET F. EVERIT, of Newark, New 
Jersey, is herein catalogued under Numbers,—140, 158, 161, 173a, 178, 
235, 287, 239, 240, 242, 245, 246, 248, 259, 262, 262a, 262b, 262c, 
266a, 270, 290, 291, 296, 298, 301, 326, 829, 330, 364, 394, 402, 411. 
436, 446, 448, 452, 456, 465, 466, 467, 468, 469, 470, AT1, 472, 473, 
AT4, 475, 476, 477, 478, 479, 480, 481, 482, 492, 504, 506. 


The property of the late MRS. WILLIAM H. REID, of New 
Canaan, Connecticut, is herein catalogued under Numbers,—2, 3, 4, 6, 
7, 8, 9, 10, 12, 18, 16, 17, 18, 19, 20, 21, 27, 2oeeee, 30, 31, 82, 33, 
34, 35, 36, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 
58, 54, 55, 56, 57, 58, 59, 60, 61, 62, 68, 64, 65, 66, 67, 68, 69, 70, 
71, 72, 78, 74, 75, 76,77, 78, 79, 80, Sl; aes ae 86, 87, 88, 89, 
90, 91, 93, 94, 95, 96, 98, 100, 104, 105, 323. 


The property of the late JOHN HENRY OSBORNE, of Auburn, 
New York, is herein catalogued under Numbers,—191, 196, 200, 202, 
204, 206, 207, 210, 383, 384, 385. 


The property of JAMES C. McGUIRE, ESQ., of New York City, 
is herein catalogued under Numbers,—143, 151, 158, 155, 162, 163, 
164, 165, 166, 167, 168, 169, 170, 171, 172, 178, 212. 


The property of STANLEY LUTWYCHE, ESQ., of Brighton, 
England, is herein catalogued under Numbers,—254, 429, 430, 431, 
432, 438, 434, 435, 487, 438, 440, 441, 442, 443, 444, MAB, 447, 


The property of a WELL-KNOWN NEW YORK BANKER is 
herein catalogued under Numbers,—109, 110, 128, 129, 1382, 186, 187, 
188, 189, 223, 224, 891, 392, 410, 455. 


The property of a NEW YORK COLLECTOR is herein catalogued 
under Numbers,—l, 5, 11, 14, 15, 22, 23, 24, 25, 26, 37, 82, 92, 
97, 99, 101, 102, 103, 106, 107, 108. 


The property of a NEW YORK COLLECTOR, sold by order of an 
agent, is herein catalogued under Numbers,—144, 193, 198, 374, 449, 
450, 451, 457, 461, 468, 490, 491, 4938, 496, 497, 500, 501, 503, 507, 
510. 


The property of an ENGLISH COLLECTOR is herein catalogued — 
under Numbers,—120, 121, 122, 180, 201, 219, 236, 331, 494, 499, 502, 
505, 508, 509. | 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by 
the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- 
juriously. 

2. The highest bidder shall be the buyer, and if any dispute arise between 
two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase money as 
may be required, and the names and addresses of the purchasers shall be given 
immediately on the sale of every lot, in default of which the lot so purchased 
shall be immediately put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, 
shall be made within ten days thereafter, in default of which the undersigned may 
either continue to hold the lots at the risk of the purchaser and take such action 
as may be necessary for the enforcement of the sale, or may at public or private 
sale, and without other than this notice, re-sell the lots for the benetit of such pur- 
chaser, and the deficiency (if any) arising from such re-sale, shall be a charge 
against such purchaser. \ 

4, Delivery of any purchase will be made only upon payment of the total 
aniount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made oily at the American Art Galleries, or 
other place of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the. Association, of any purchase 
during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business in which the 
Association is in no wise engaged, and will not be performed by the Association 
for purchasers. The Association will, however, afford to purchasers every facility 
for employing at current and reasonable rates carriers and packers; doing so, how- 
ever, without any assumption of responsibility on its part for the acts and charges 
of the parties engaged for such service. , 


6. Storage of any purchase shall be at the sole risk of the purchaser. ‘Title 
passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- 
ciation will exercise due caution in caring for and delivering such purchase, it 
will not hold itself responsible if such purchase be lost, stolen, damaged or 
destroyed. 

Storage charges will be made upon all purchases not remoyed within ten days 
from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association of the cor- 
rectness of the description, genuineness or authenticity of any lot, and no sale will 
be set aside on account of any incorrectness, error of cataloguing, or any imper- 
fection not noted. Every lot is on public exhibition one or more days prior to its 
sale, after which it is sold “fas is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will 
give consideration to the opinion of any trustworthy expert to the effect that any 
lot has been incorrectly catalogued, and, in its judgment, may either sell the 
lot as catalogued or make mention of the opinion of such expert, who thereby 
would become responsible for such damage as might result were his opinion with- 


out proper foundation. SPECIAL NOTICE 

Buying or bidding by the Association for responsible parties on orders trans- 
mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
charge or commission. Any purchase so made will be subject to the above Condi- 
tions of Sale, which cannot in any manner be modified. The Association, however, 
in the event of making a purchase of a lot consisting of one or more books for a 
purchaser who has not, through himself or his agent, been present at the exhibition 
or sale, will permit such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any material manner differs 
from its catalogue description. 


Orders for execution by the Association should be written and given with 
such plainness as to leave no room for misunderstanding. Not only should the lot 
number be given, but also the title, and bids should be stated to be so much 
for the lot, and when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the one transmitting 
the order is unknown to the Association, a deposit should be sent or reference 
submitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be 
furnished by the Association at a reasonable charge. 

AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS COLLECTORS 
AND OWNERS HEREINBEFORE DESIGNATED 


First Session, Numbers 1 to 173a, inclusive 


MONDAY EVENING, JANUARY 29th, Mie 8215.0 ' CLOCK 


MEZZOTINTS BY MODERN ENGRAVERS, PRINTED IN COLORS 
ALL FINE IMPRESSIONS 


Without defects, artistically framed in gold or bronze frames. 


[Numbers 1 to 98, inclusive | 


THOMAS G. APPLETON 


Modern mezzotint engraver. 


APPLETON, THOMAS G. 
1. Jonn Cuarres, Lory ALTHORP. 


After Sir Joshua Reynolds. 


Framed. 


Mezzotint. 
SIGNED PROOF, PRINTED IN 


Se 
\ COLORS. 


APPLETON, THOMAS G. 


O 2. Lapy Hamitron as THE SHEPHERDESS. Mezzotint. 
ai“ After George Romney. SIGNED PROOF, PRINTED IN COL- 
\ ors. Framed. 


APPLETON, THOMAS G. 
8. Lavy PetHam C.uinTON. 


i! After Sir Joshua Reynolds. 
ve cotors. Framed. 


Mezzotint. 
SIGNED PROOF, PRINTED IN 


First Session, Monday Evening, January 29th 


HUGO H. BANNER 


Modern mezzotint engraver. 


BANNER, HUGO H. 


4. Mrs. Wourr. Mezzotint. 
After Sir Thomas Lawrence. Si1GNED PROOF, PRINTED IN 
cotors. Framed, with wide margins. 


BANNER, HUGO H. 


5. Miss Farren. Mezzotint. 
After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN 
cotors. Framed. 


ra) 


CHARLES BIRD 


Modern mezzotint engraver. 


BIRD, CHARLES 


6. Mona Lisa. Mezzotint. 
After Leonardo da Vinci. SIGNED PROOF, PRINTED IN COL- 
ors. Framed. 


BIRD, CHARLES 


Y. Lapy SuHeEeFFrireLp. Mezzotint. 


After Gainsborough. SicNED PROOF, PRINTED IN COLORs. 
Framed. 


BIRD, CHARLES 


8. RempBranpt’s Mitzi. Mezzotint. 
After Rembrandt. S1iGNeEpD PROOF, PRINTED IN COLORS. 
Framed, with wide margins. 


BIRD, CHARLES 


9. Tur AvEeNvE or Trees. Mezzotint. 
/ After M. Hobbema. SiGNED PROOF, PRINTED IN COLORS. 
Framed. 


First Session, Monday Evening, January 29th 


W. G. BLACKALL 


Modern mezzotint engraver. 


BLACKALL, W. G. 


10. Grorcrt Gisze. Mezzotint. 
After Holbein. SIGNED PROOF, PRINTED IN COLORS. 


Framed. 


M. CORMOCK 


Modern mezzotint engraver. 


CORMOCK, M. 


11. Mrzrx Map anp Cownerp. Mezzotint. 
After George Morland. SigNED PROOF, PRINTED IN 


coLors. Framed. 


T. HAMILTON CRAWFORD 


Modern mezzotint engraver. 


CRAWFORD, T. HAMILTON 


12. WonpeERLAND. Mezzotint. 
After L. Walker. S1GNED PROOF, PRINTED IN COLORS. 


Framed. 


; S. ARLENT EDWARDS 


Contemporary mezzotint engraver. Reintroduced color-printing in Amer- 
ica in 1900. Said to be the only artist who, himself, performs every step 
in the production and distribution of the colored print. His colors are 
blended by himself on the plate, and he rocks each plate in a manner most 


suitable to his subject. 


ur 
spi 


EDWARDS, S. ARLENT 


18. La Bette FerronniereE. Mezzotint. 


Butler, No. 37. 


After Leonardo da Vinci. SIGNED PROOF, PRINTED IN 


coLtors. Framed. 


First Session, Monday Evening, January 29th 


EDWARDS, S. ARLENT 


14. Mrs. Davenport. Mezzotint. 
Butler, No. 39. 


After George Romney. SIGNED PROOF, PRINTED IN COLORS. 
Framed. 


EDWARDS, S. ARLENT 


15. CounttEss oF Mrxporovucu. Mezzotint. 


v 

Wy Butler, No. 46. 

ek After John Hoppner. SieNED PROOF, PRINTED IN COLORS. 
Lt Framed. 


EDWARDS, S. ARLENT 


16. Maponna. Mezzotint. 
Butler, No. 55. 
After Perugino. SicNED PROOF, PRINTED IN COLORS. 
Framed. 


EDWARDS, S. ARLENT 


17. Exvirna. Mezzotint. 
Pe: Butler, No. 59. 


a After Pierre de la Francesca. SrGNED ARTIST’S PROOF, 


PRINTED IN coLors. Framed, with wide margins. 


EDWARDS, S. ARLENT 


18. Maponna. Mezzotint. 


5° Butler, No. 638. 
Ye nt . . 
>) After B. Luini. SigNep prooF, PRINTED IN COLORS. 
2 
Framed. 


EDWARDS, S. ARLENT 
peg. SmmoNETTA Vespucci. Mezzotint. 
fe Butler, No. 67. 


After Pollajuolo. Stenep PROOF, PRINTED IN COLORS. 
Framed, with wide margins. 


o™~ 


EDWARDS, S. ARLENT 
20. Martin Van NiEUWENHOVE. Mezzotint. 
Butler, No. 72. 


pes After Hans Memling. SigNEep PROOF, PRINTED IN COLORS. 
\) Framed. 


\ 


/ 


First Session, Monday Evening, January 29th 


EDWARDS, S. ARLENT 


9 21. Louise pe Bourson, Ducuesst DE Maint. Mezzotint. 
‘ Butler, No. 74. 
» After Mignard. SigNED PROOF, PRINTED IN COLORS. 
Framed. 


EDWARDS, S. ARLENT 
22. Mrs. Luoyp. Mezzotint. 
a b* After Sir Joshua Reynolds. SigNED PROOF, PRINTED IN 
cotors. Framed. 
EDWARDS, S. ARLENT 


23. SopuiE Arnovuup. Mezzotint. 


: After Gerard. SIGNED PROOF, PRINTED IN COLORS. 
y) Framed. 


EDWARDS, S. ARLENT 
24. Marize ANTOINETTE. Mezzotint. 
f ov ARTIST PROOF, SIGNED AND PRINTED ON THIN PAPER AND 
\? COLORED IN Mr. Epwarps’ EARLY sTYLE. Framed. 


EDWARDS, S. ARLENT 


25. DucHEss OF DEVONSHIRE AND Cutip. Mezzotint. 


~ After Sir Joshua Reynolds. Artist PROOF, SIGNED AND 
D° PRINTED ON THIN PAPER AND COLORED IN Mr. Epwarps’ 
EARLY STYLE. Framed. 


EDWARDS, S. ARLENT 
26. Cuez Dinvrerot. Mezzotint. 


ARTIST PROOF, SIGNED AND PRINTED ON THIN PAPER AND 
Uy, COLORED IN Mr. Epwarps’ EARLY STYLE. Framed. 


v 
H. T. GREENHEAD 


Modern mezzotint engraver. 


GREENHEAD, H. T. 


27. Barspara. Mezzotint. 
- After George Morland. SiGNED PROOF, PRINTED IN COL- 


a ors. Framed. 


First Session, Monday Evening, January 29th 


GREENHEAD, H. T. 


28. Doris. Mezzotint. 
Bae After George Morland. 
Ure xi ors. Framed. 
Ke 
GREENHEAD, H. T. 
29. Janet. Mezzotint. 


A 0 
7 / 


i 


ors. Framed. 


GREENHEAD, H. T. 


30. Mapncr. Mezzotint. 
3 After George Morland. 
” ; ors. Framed. 


| 


GREENHEAD, H. T. 
31. [Marcarer.| Mezzotint. 


After George Morland. 


ors. Framed. 


os 


GREENHEAD, H. T. 
32. Mitty. Mezzotint. 


After George Morland. 


ors. Framed. 


yy 


After George Morland. 


SIGNED 


SIGNED 


SIGNED 


SIGNED 


SIGNED 


EK. GULLAND 


Woman engraver in mezzotint. 


GULLAND, E. 


33. ViscounTEss ALTHORP. 


Mezzotint. 
After Sir Joshua Reynolds. 


PROOF, 


PROOF, 


PROOF, 


PROOF, 


PROOF, 


Modern school. 


" ; cotors. Framed. 
» 
GULLAND, E. 
34. Mrs. Stewart or Puyseity. Mezzotint. 
/ After Sir Thomas Lawrence. 
coLtors. Framed. 


PRINTED 


PRINTED 


PRINTED 


PRINTED 


PRINTED 


IN 


IN 


IN 


IN 


COL- 


COL- 


COoL- 


COL- 


COL- 


SIGNED PROOF, PRINTED IN 


SIGNED PROOF, PRINTED IN 


First Session, Monday Evening, January 29th 
DRMNnas ee ee 


-GULLAND, E. 


i 35. Lapy Sera Merave. Mezzotint. 
After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN 
{ 
| cotors. Framed. 


GULLAND, E. 


36. Lapy Waxprcrave. Mezzotint. 
p After Sir Joshua Reynolds. SicNED PROOF, PRINTED IN 


\ 7/ cotors. Framed. 


E. L. HAYNES 


Modern mezzotint engraver. 


HAYNES, E. L. 


p 37. SUMMER. Mezzotint. 
Ad SIGNED PROOF, PRINTED IN coLors. Framed. 


n° 
vo. WILL HENDERSON 


Modern mezzotint engraver. 


HENDERSON, WILL 


Be 88. Cuerry Riez. Mezzotint. 
4? After Millais. SigNeED PROOF, PRINTED IN COLORS. 
: Framed. 


HENDERSON, WILL 


39. Mrs. Norru. Mezzotint. 
After George Romney. SIGNED PROOF, PRINTED IN COLORS. 


69 
“t Framed. 
HENDERSON, WILL 


40. Tue Per Rapstr. Mezzotint. 
/ After Corteaux. SIGNED PROOF, PRINTED IN COLORS. 


a : Framed. 
HENDERSON, WILL 


41. MapEMOISELLE DE BLIVEs. Mezzotint. 
After J. M. Nattier. SriGNED PROOF, PRINTED IN COLORS. 
Framed, with wide margins. 


” 


First Session, Monday Hvenng, January 29th 


HENDERSON, WILL 


42. MapamME DE LA Porte. Mezzotint. 
/ After J. M. Nattier. SigNep PRooF, PRINTED IN COLORS. 
dD’ Framed, with wide margins. 


oO 


HENDERSON, WILL 


43. Lapy’s Porrrarr. Half-length. 


After Sir Joshua Reynolds. Siegnep PROOF, PRINTED IN 
vi 
yf cotors. Framed. 


G. M. HESTER 


Modern mezzotint engraver. 


HESTER, G. M. 


ye 44. Countess or Euston. Mezzotint. 
AY, After John Hoppner. SicNep pRooF, PRINTED IN COL 


\| : ors. Framed. 


HESTER, G. M. 


45. Lapy CHartorre CampsBety. Mezzotint. 
pp. SIGNED PROOF, PRINTED IN cCoLors. Framed. 


EK. T. HUBBARD 


Modern mezzotint engraver. 


HUBBARD, E. T. 


46. Lapy Hamitron as a Baccnante. Mezzotint. 
After George Romney. SigNep PROOF, PRINTED IN COL- 


4? i ors. Framed. 


HUBBARD, E. T. 


47. Nett Gwynn. Mezzotint. 
After Sir Peter Lely. Sienep proor No. 29, printTED IN 


Vy oe, cotors. Framed. 
yc 


First Session, Monday Evening, January 29th 


CLIFFORD R. JAMES 


Modern mezzotint engraver. 


JAMES, CLIFFORD R. 


3, 48. Countess or WestmeEAtTH. Mezzotint. 
6: After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN 
; cotors. Framed. 


JAMES, CLIFFORD R. 


yo 49. Lapy Wittovcney pvE Eressy. Mezzotint. 
7 After Lawrence. SIGNED PROOF, PRINTED IN COLORS. 
> 

a Framed. 


JAMES, CLIFFORD R. 


py 50. Lapy Enizaspetu Ler. Mezzotint. 
© ° After Sir Joshua Reynolds. SicNepD PROOF, PRINTED IN 


Mo) cotors. Framed. 


JAMES, CLIFFORD R. 


f° 51. Perwcess Metrernicu. Mezzotint. 
After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN 


, 
a? coLors. Framed. 


JAMES, CLIFFORD R. 


52. Tue Departure For Scuoot. Mezzotint. 
4 After W. R. Bigg. SiagNeED PROOF, PRINTED IN COLORS. 


, et Framed. 


JAMES, CLIFFORD R. 


53. Tue Rerurn rrom Scuoor. Mezzotint. 
Text y After W. R. Bigg. SicNED PROOF, PRINTED IN COLORS. 


» : Framed. 
w 


F. MARRIOTT 


Modern mezzotint engraver. 


MARRIOTT, F. 


54. Courryarp, CaEN. Mezzotint. 
ed SIGNED PROOF, PRINTED IN coors. Framed. 
4 


ik 


First Session, Monday Evening, January 29th 


MARRIOTT, F. 


55. Bruces, Betctum. Mezzotint. 
SIGNED PROOF No. 16, PRINTED IN cotors. Framed. 


PD 
, 
/ t. 
} 
a) PERCY MARTINDALE 
o Modern mezzotint engraver. 
MARTINDALE, PERCY 
+” 56. AcE or Innocence. Mezzotint. 
ID After Sir Joshua Reynolds. SicNep PROOF, PRINTED IN 
) ‘ 
A+ cotors. Framed. ? 
2 
MARTINDALE, PERCY 
40 57. Simpuiciry. Mezzotint. 
, ane After Sir Joshua Reynolds. Siegnep proor, PRINTED IN 
/) ) cotors. Framed. . 
MARTINDALE, PERCY 
58. Lapy’s Porrrarr, half-length, seated, curtain in background 
A and water showing on left. Mezzotint. 
ra ae SIGNED PROOF, PRINTED IN coLors. Pub. 1911, by Chas. 
| . Dunworth. Framed. 
FRED MILLAR 
Modern mezzotint engraver. 
MILLAR, FRED 
59. Giovanni Axpizz1. Mezzotint. 
cer’ After Ghirlandaio. SicNED PROOF, PRINTED IN COLORS. 
7 Framed. 


MILLAR, FRED 
60. Mrs. Hasperrretp. Mezzotint. 
Ys SIGNED PROOF, PRINTED IN coLtors. No. 218. Small folio. 
Framed. 


First Session, Monday Evening, January 29th 


MILLAR, FRED 


> 61. Fountain or Love. Mezzotint. 
fi 
After Fragonard. SIGNED PROOF, PRINTED IN COLORS. 


Framed, with wide margins. 


MILLAR, FRED 


62. Mrs. Roxprnson as Perprra. - Mezzotint. 
< | After George Romney. SicNep proor, No. 195, PRINTED 
|: vi iN cotors. Framed, with wide margins. 
MILLAR, FRED 
63. Mrs. Rosryson. Mezzotint. 


A After Gainsborough. S1iegNep proor No. 180, PRINTED 
Y/ in coLtors. Framed, with wide margins. 
“\ 
EK. MILNER 


Woman engraver in mezzotint. Modern school. 


MILNER, E. 


64. Lapy CasriterEAcH. Mezzotint. 


Y After Sir Thomas Gainsborough. SIGNED PROOF, PRINTED 
iN cotors. Framed, with wide margins. 
MILNER, E. 
65. Lapy Prerriz. Mezzotint. 
¥ After Gainsborough. S1GNED PROOF, PRINTED IN COLORS. 
a’ Framed, with wide margins. 
MILNER, E. 
66. Master Lampron. Mezzotint. 
cy, After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN 
4 , . coors. Framed. 
MILNER, E. 
67. Mapame Lovisr. Mezzotint. 
After J. M. Nattier. SIGNED PROOF, PRINTED IN COLORS. 
& Small folio. Framed, with wide margins. 


in 


First Session, Monday Evening, January 29th 


MILNER, E. 


68. AnNE Lampron anp Famity. Mezzotint. 
After John Hoppner. SieNep PROOF, PRINTED IN COLORS. 


c Framed. 
ed, MILNER, E. 
69. THe Renearsat IN THE Park. Mezzotint. 
After Nicolas Lancret. SigNED PROOF, PRINTED IN COL- 
rs ors. Framed. 
,? : 
/ 
(¢ PAYREAU 
f z Modern mezzotint engraver. 
PAYREAU 
70. Carouine, Countess oF Caruiste. Mezzotint. 
After George Romney. SiGNep PROOF, PRINTED IN COL- 
? ors. Framed. 
4 ore : 
H. MACBETH RAEBURN 
Modern mezzotint engraver. 
RAEBURN, H. MACBETH 
0 V1. A Vistr ro GRANDMOTHER. Mezzotint. 
; ee After Northcote. SigNep PROOF, PRINTED IN COLORS. 
4? Framed. 


RAEBURN, H. MACBETH 


72. A Vistr To GRANDFATHER. Mezzotint. 


| After Northcote. SigNED PROOF, PRINTED IN COLORS. 
ait Framed. 


J. P. SABIN 


Modern mezzotint engraver. 


SABIN, J. P. 
73. MapamMer pE CLtErMont. Mezzotint. 
/ After Nattier. SIGNED PROOF, PRINTED IN COLORS. 
Framed. 


First Session, Monday Evening, January 29th 


HERBERT SEDCOLE 


Modern mezzotint engraver. 


SEDCOLE, HERBERT 
74. Narure (The Calmaday Children). Mezzotint. 


After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN 
/ cotors. Small foio. Framed. 


—e 
y Toe 
A 


ALFRED SKRIMSHIRE 


Modern mezzotint engraver. 


SKRIMSHIRE, ALFRED 


© 75. MEtBourRNE CurItpREN. Mezzotint. 
oc After Sir Joshua Reynolds. SiGNED PROOF, PRINTED IN 
}{ coLors. Framed. 
SKRIMSHIRE, ALFRED 
“6. Tue SrrawBerry Giri. Mezzotint. 
er After Sir Joshua Reynolds. SicgNED PROOF, PRINTED IN 
1 = cotors. Framed. 
~ SKRIMSHIRE, ALFRED 
w7 A Boy anp Rassit. Mezzotint. 
3 After Sir Henry Raeburn. SIGNED PROOF, PRINTED IN COL- 
> 
oe 4 ors. Framed. 
<4? 
SKRIMSHIRE, ALFRED 
“8. Boy witn Guirar. Mezzotint. 
fast SIGNED PROOF, PRINTED IN coLors. Framed. 
Beh 7 


SKRIMSHIRE, ALFRED 


79. Serrine Sun. Mezzotint. 
After George Romney. SIGNED PROOF, PRINTED IN COLORS. 


gst f Framed. 


First Session, Monday Evening, January 29th 


RICHARD SMYTHE 


Modern mezzotint engraver. 


SMYTHE, RICHARD 


80. Lapy ExizaneruH Conyncuam. Mezzotint. | 
| After Sir Thomas Lawrence. SigNED PROOF, PRINTED IN 
\ cotors. Framed. 


~ Se oe 
— 


SMYTHE, RICHARD 


fa 81, Lapy CoxnyneHam anp Curtp. Mezzotint. 
— a After Sir Joshua Reynolds. SigNep PROOF, PRINTED IN 
eo ee coors. JIarge folio. Framed. 


oe. SMYTHE, RICHARD 


82. CountEss oF HarEwoop. Mezzotint. 


2 After John Hoppner. SIGNED PROOF, PRINTED IN COLORS. 
j 


Lh Framed. 
Yet 
SMYTHE, RICHARD 
83. Lapy Fremimne. Mezzotint. 
Pye After Sir Joshua Reynolds. SicgNep pRooF, PRINTED IN 
A se cotors. Framed. 
SMYTHE, RICHARD 
70 84. Harrincron Famity. Mezzotint. 
A ey After Sir Joshua Reynolds. SigNep PROOF, PRINTED IN 
i) ce 2D cotors. Framed. 
SMYTHE, RICHARD 
85. Lapy Incuieurxn. Mezzotint. 
| oe After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN 
fe je hey coors. Framed. 


SMYTHE, RICHARD 


86. Lapy’s Porrrarr, half-length. Mezzotint. 


0 | After Sir Joshua Reynolds.] SicNEp PROOF, PRINTED IN 
cotors. Published by Connell, 1910. Framed. 


First Session, Monday Evening, January 29th 


F. G. STEVENSON 


Modern mezzotint engraver. 


STEVENSON, F. G. 


. y 87. Mrs. Davenport. Mezzotint. 
\ After George Romney. SIGNED PROOF, PRINTED IN COL- 
ors. Framed. 


; 


STEVENSON, F. G. 


88. Curtpren Baruine. [The Hoppner Children.] Mezzotint. 
of After John Hoppner. SIGNED PROOF, PRINTED IN COLORS. 


, d- Framed. 


STEVENSON, F. G. 


& 89. Juvenite Retirement. [The Douglas Children.] Mezzotint. 
4 After John Hoppner. SigNED PROOF, PRINTED IN COLORS. 


42 ; Framed. 


STEVENSON, F. G. 


90. Maponna Detua Sepia. Mezzotint. 
Ae After Raphael. SigNED PROOF, PRINTED IN COLORS. 
Ze t Framed. 


R. W. STEWARD 


Modern mezzotint engraver. 


STEWARD, R. W. 


91. Mrs. Berri. Mezzotint. 
After Sir Henry Raeburn. SicNED PROOF, PRINTED IN 
coLtors ON Inpra PAPER. Framed. 


/ 
EK. STODART 


Modern mezzotint engraver. 


STODART, E. 


92. Miss Mruts. Mezzotint. 
After Ward. SIGNED PROOF, PRINTED IN coLors. Framed. 


<a 


First Session, Monday Evening, January 29th 


WILSON, 
93. 


WILSON, 


WILSON, 
95, 


WILSON, 
96. 


Ph Peat 


WILSON, 
OF. 


WILSON, 
98. 


SYDNEY E. WILSON 


Modern mezzotint engraver. 


SYDNEY E. 


Ducuess or DevonsHireE. Mezzotint. 
After Gainsborough. S1GNED PROOF, PRINTED IN COLORS. 
Framed. 


SYDNEY E. 


. Lapy SHEFFIELD. Mezzotint. 


After Gainsborough. SiGNED PROOF, PRINTED IN COLORS. 
Framed, with wide margins. 


SYDNEY E. 


Master Harr. Mezzotint. 
After Sir Joshua Reynolds. SienEp PROOF, PRINTED IN 
cotors. Framed. 


SYDNEY E. 


Mapame LeBrun anp Cuiutp. Mezzotint. 
After Madame LeBrun. SigNED PROOF, PRINTED IN COL- 
ors. Framed. 


SYDNEY E. 


Mrs. Bert. Mezzotint. 
After Raeburn. SiGNED PROOF, PRINTED IN COLORS. 


Framed. 
SYDNEY E. 


Mrs. Cannine anp Cuitp. Mezzotint. 


After George Romney. S1GNED PROOF, PRINTED IN COLORS. 
Framed. 


COLOR-PRINTS 


COLOR-PRINT AFTER E. L. HENRY 


oY: 


Pah = 


ArrerR THE Raty. An Early American Coaching Subject. 
Colored reproduction after E. L. Henry. Framed. 


First Session, Monday Evening, January 29th 


COLOR-PRINT AFTER E. L. HENRY 


100. Erte Canat Boat. 
> + Colored reproduction after E. L. Henry. Framed. 


COLOR-PRINT AFTER E. L. HENRY 


z, 101. First American Rariroap Trarn. 


a Colored reproduction after E. L. Henry. Framed. 


7] 


COLOR-PRINT AFTER REMBRANDT VAN RIJN 


102. Man rw Armor. 
Oy After Rembrandt. Colored reproduction. Published by 
|. Hanfstaengl. Framed. 


COLOR-PRINT AFTER ANTHONIE VAN DYCK 


‘ 103. Wriiiiam II. or Orance. 
After Van Dyck. Colored reproduction. Published by 


? Hanfstaengl. Framed. 


COLOR-PRINT 


7 104. Suspsecr arrerR Prero Detita Francesca. Gold frame. 
ww 


COLOR-PRINT 


105. Brarrice D’Este. 
Italian color-print. Gold frame. 


COLOR-PRINT 


106. CurvesrE Warer-cotor Drawines. 
‘ag Four subjects in three frames. 
7 


COLOR-PRINT 


107. View oF THE Roya Excuancet, Lonpon. 
Original colored impression, published by Laurie & Whittle, 
/ 1794. 


ee 
oo 


ea 
2 


First Session, Monday Evening, January 29th 


COLOR-PRINT 


108. Vue pu Poxr Nevr; Arc pE TRIoMPHE DE L’ETOoILe. 


Old colored lithographs by Lemercier. 
Together, 2 pieces. 


ANDREW F. AFFLECK 


Contemporary English etcher. 


AFFLECK, ANDREW F. 


LO 


109. Doorway, Sanra Cruz. Etching. 


Signed in pencil,—‘‘Andrew F. Affleck.” Ina hand carved 
gold frame. 


AFFLECK, ANDREW F. 


110. Torepo Carnepray. Etching. 


Signed in pencil,—“‘Andrew Affleck.” In a hand carved 
gold frame. 


JAN ALMELOVEEN 


“Dutch painter and engraver of Mvdrecht, near Utrecht, flourished towards 
the close of the 17th Century. He is better known by some etchings of 
landscapes, executed with great lightness and intelligence, after the manner 
of Saftleven, than by anything he has left us as a painter.”—BRYAN’S 
“Dictionary of Painters and Engravers.” 


ALMELOVEEN, JAN 


111. View or River wirh Boats 1x Forecrounn. Etching. 


Bartsch, No. 30. 
Signed in the left hand margin,—‘Jan Almeloven Inv. et 
fecit.” 


ADOLPHE APPIAN 


French painter and etcher. Born at Lyons in 1819; died there in 1898. 
Pupil of Corot and Daubigny. 

“My admiration for Appian’s work as an etcher (he is a charming painter 
also) was already great several years ago, but the more I see how rare his 
qualities are in contemporary art, or in any art the more I feel disposed 
to value them.”’—Pp. G. HAMERTON. 


APPIAN, ADOLPHE 


112. Borp pu Lac. Etching. 


Signed in upper left corner of plate, “Appian.” Fine 
EARLY PROOF. 


First Session, Monday Evening, January 29th 


APPIAN, ADOLPHE 


118. A GorcE pE Loup, Environs pE Lyon. Etching. 
7 FINE EARLY PROOF. 


ALBERT BAERTSOEN 


Contemporary Belgian etcher. Born in 1866; living in Ghent. 
BAERTSOEN, ALBERT 
114. Vieux Ovats. Etching. 


Signed in pencil,—‘‘A. Baertsoen.”’ 
/ 
\\ MARIUS A. J. BAUER 


Contemporary Dutch artist. Born at The Hague in 1867. Renowned for 
his delineation of the spirit of the Orient. 

“How admirably, are cities and their populace rendered by this artist, 
sensitive, keen-eyed, full of the spirit of his subjects, sensing the move- 


ment, the gesture, the action, and knowing cunningly how to give his im- 
pressions outward form.”—PHILIPPE ZILKEN. 


BAUER, MARIUS A. J. 


115. Persian Festivat. Etching. 
Van Wisselingh, No. 209. 


- >) Signed in pencil,—“M. Bauer.” 
? A “With his assistance, we live again through fateful stories of love 
8 8 
ey and intrigue; with his help we stand aside and watch processions 


streaming out of palaces, and mosques, or pacing through a narrow 
street or along some open causeway.”—A. TOMSON. 


BAUER, MARIUS A. J. 
116. Srreer ww Catro. Etching. 


/ \ Van Wisselingh, No. 220. 
\ Signed in pencil, with the initials,—“M. B.” 


BAUER, MARIUS A. J. 


117. Tue Hory Ganecers. Etching. 
Van Wisselingh, No. 222. 
Signed in pencil,—‘M. Bauer.” Rare anp FINE. 


“For the most part he gives in his pictures the impression of a 
thickly populated place; of a place where people live lives full of 


a incident; of a place where to men all things are possible; where 
C beggary or sudden prosperity, a first meeting with the loveliest of 
women, or violent death, may fall to a man’s lot at any corner.”— 

/ A. TOMSON. 


[See Reproduction | 


Zoe (ON “Ybuyassr1y, WO A—'SHONVY) ATOPY FHT, | 
YWaHOVE CV SOTUVI 


First Session, Monday Evening, January 29th 


BAUER, MARIUS A. J. 


118. Maarryp. Etching. 
Not in Van Wisselingh. 
°° n Etched in 1898. Signed on the plate, and in pencil,—“M. 
¢ ; ys Bauer.” 


BAUER, MARIUS A. J. 


119. On rHEe Roors. Etching. 
Not in Van Wisselingh. 
Signed in pencil,—“M. Bauer.” 


EUGENE BEJOT 


Contemporary French etcher, born at Paris in 1865. “We turn to Béjot, 
an artist as individual as Lepére, but less demonstrative. Within narrower 
limits than Lepére he concentrates his thought and his work . . . Béjot 
makes the discovery that he has produced an ‘oewvre.’ It is to Paris— 
to his love of Paris—that he owes the greater part of it.”—FREDERICK 
WEDMORE. 


BEJOT, EUGENE 


120. La Morcut, Pont St. Lovis. Etching. 
’ Etched in 1905. Signed on the plate, and in pencil,— 
|. “Eug. Béjot.”  Earty state. 


Ve 


BEJOT, EUGENE 


121. Le Pont ve L’Arcuevicut. Etching. 
o, Etched in 1908. Signed on the plate, and in pencil,— 
/ “Eug. Béjot.” 


BEJOT, EUGENE 


122. Le Perit Bras pe 1a Serve. Etching. 
Signed in pencil,—“‘Eug. Béjot.” Proor PRINTED ON 
. BLUISH-GREEN PAPER. FINE AND RARE. 


Ka 


First Session, Monday Evening, January 29th 


BEJOT, EUGENE 


123. Le Perit Bras pe va Serve. Etching. 
Signed in pencil,—‘Eug. Béjot.” FINE IMPRESSION ON 


) 
i 
ay GREEN PAPER. 
= : ONE OF THE FINEST AND MOST CHARMING OF B&JoT’s 
~ PLATES. DRAWN UPON IN PENCIL BY THE ARTIST. 


BEJOT, EUGENE 


124. Pont Sarnt Louis. Etching. 
O Signed on the plate, and in pencil,—“‘Eug. Béjot.” Proor 
$7 PRINTED IN BROWNISH INK. 


EUGENE BLERY 
French landscape etcher. Born at Fontainebleau in 1805; died at Paris 


in 1887 . . . He was Charles Meryon’s only teacher, and the latter always 
had a great affection for his former master. 


BLERY, EUGENE 


125. Les Perrrs Terrains. Etching. 
/ Beraldi, No. 5. 


FINE IMPRESSION. 


NN 


ABRAHAM BLOOTELING 


Dutch draughtsman, line engraver and mezzotinter. Born at Amsterdam, 
1634; died some time after 1685. Pupil of Cornelis Van Dalen. ; 


BLOOTELING, ABRAHAM 


126. Apranam Hermanus. Line-engraving. 
Wessely, No. 16. | 
Engraved after the painting by J. Sievens. Signed on 
the lower margin,—‘‘4. Blooteling sculp.” 'Two tears in 
upper left corner. 


From the Ambrose Firmin Didot and Louis Galichou 
collections. 


—— 


First Session, Monday Evening, January 29th 


MINNA BOLINGBROKE 


Contemporary English woman etcher; wife of the etcher C. J. Watson; 
lived at Norwich and London. 


BOLINGBROKE, MINNA 


127. A Corner oF THE Piazzetra. Etching. 
Etched in 1900. Signed on the plate, and in pencil,— 
oY “Minna Bolingbroke.” 


) 


WILLIAM BOND 


Engraved many of the portraits by Sir Joshua Reynolds, and is believed 
to have died early in the 19th century. He was Governor of the “Society. 
of Engravers.” 


BOND, WILLIAM 


128. Tur Younc Girsry. Stipple engraving. 
After Barker. Prixrep 1x coors, and retouched by 


= hand. Lerrer proor. SPLENDID IMPRESSION, with small 
° margins outside the plate mark. 

ae eee of : - 

a sgn Companion piece to “The Little Forester.” 

jo 


BOND, WILLIAM 


129. Tur Lirrte Forester. Stipple engraving. 
After L. S. Bond. Prixrep 1 corors, and retouched by 
f+, hand. Lerrer proor. Fine rrpression, cut on the plate 
& ey OE al line. A few small rust spots. 
Companion piece to “The Young Gipsey.” 


MUIRHEAD BONE 


Contemporary Scotch etcher. Born in 1876 near Glasgow; living in 
London. He has achieved renown by his subtle drypoints and masterful 
drawings. 

“One of the most artistic of all the British etchers, a consummate master 
of the drypoint medium.’—nerman struck, in Die Kunst des Radierens. 


BONE, MUIRHEAD 


130. Tue Fosse, Lincotn. Drypoint. 
Dodgson, No. 184. 
Signed on the plate, and in pencil,—‘Muirhead Bone.” 
/ ExTREMELY RARE. Onty 18 PROOFS PRINTED. 


First Session, Monday Evening, January 29th 


JAN BOTH 


“The most conspicuous and important man in the Arcadian group is Jan 
Both. He was a man of Utrecht, where he was born in 1600, and where 
he died in 1652. Quite young he left the studio of his master Bloemart 
and traveled through France to Rome. There the soft sunshine of Claude 
fascinated him and he began to follow in the footsteps of that famous 
painter.”—LAURENCE BINGON. 


BOTH, JAN 


131. Le Granp Arsre. Etching. 
Bartsch, No. 3. 
Signed on upper right corner of the plate,—‘Both fe.” 


A First STATE BEFORE THE ADDRESS OF MATHAM. 
7| ' From the collection of W. Bell Scott. 


FRANCOIS BOUCHER 


Born at Paris in 1703; died there in 1790. By his paintings and his 
designs for engravers, he dominated the artistic tendencies of his period. 


BOUCHER, FRANCOIS 


132. TérE pe Femme. Drawing. 
Drawing with colored crayon on brownish paper. Framed. 


Ao eee From the Peoli collection. 
/ 
Pad 
ey FELLX BRACQUEMOND 
French etcher. Born at Paris in 1833; died in 1915. Technically he was 
one of the most consummate etchers ever known. At the time of his death 
he was the dean of French engravers. He numbered among his friends 
all the great artists of his time, many of whom he assisted with instruc- 
tion and advice. 
BRACQUEMOND, FELIX 
133. La Nuts p’Oracre. Etching. 
oY Beraldi, No. 219. 
4 Frye Earzty impression. Signed on the plate, and in pen- 
i cil,—‘Bracquemond.” 


BRACQUEMOND, FELIX 
134. Le Lac. Etching. 
Beraldi, No. 287. 


5 Etched after the painting by Corot. Signed on the mar- 
gin,x—‘‘Bracquemond, sc.” 


First Session, Monday Evening, January 29th 
er ce ee OUEST eee 


BRACQUEMOND, FELIX 


135. Le Sor. Etching. 
Beraldi, No. 342. 
Etched after the painting by Theodore Rousseau. 


Signed 
in ink,—“Bracquemond.” 
F EarLy PROOF ON JAPAN PAPER BEFORE THE PUBLISHED 
r\ a STATE. 5 PROOFS ONLY. PRESENTATION PROOF TO PauUL 
Mantz, THE GOVERNMENT INSPECTOR OF FINE ARTS. 


FELIX BUHOT 


French etcher. Born at Valognes, Normandy, 1847; died.at Paris in 


1898. 


“Let us say at once that Buhot—painter and etcher, is above all a poet. 
His technique is assuredly far from being simple. But he is free. He is 
not the slave of rules and formular. The world at large cannot fail 
to admire the form of his message.”—LEONA BENEDITE. 


BUHOT, FELIX 


/ 7-186. Au Fit p’Eav. Etching. 
» : Bourcard, No. 5. 
Etched after G. Jundt. 


BUHOT, FELIX 
187. L’Aneetus. Etching. 
Bourcard, No. 72. 
0 


Be Signed in pencil,—‘Feli2 Buhot.” Bowurcaryp’s THIRD 
\P sTATE, with added line work in sky and trees. 


BUHOT, FELIX 
138. Le Bas Hamer. Aquatint. 
Bourcard, No. 107. 


/ Stamped with Buhot’s special stamp. An illustration of 
5 b “Une Vieille Maitresse.”’ 


BUHOT, FELIX 


139. Le Rerovr pes Artistes. Etching. 
Bourcard, No. 125. 
First state. Four proors onty. Signed on the plate, 


) yy (and in pencil,—“Felia Buhot.” 


First Session, Monday Evening, January 29th 


BUHOT, FELIX 


140. Les Perires Cuaumiires. Drypoint. 
Bourcard, No. 149. 


Aas /) Signed on the plate,—‘‘Feliz Buhot,” and in pencil,— 
: Ni 
oe | a “F. B.” BEAUTIFUL IMPRESSION, PRINTED BY THE ARTIST. 


IN PERFECT CONDITION. 


BUHOT, FELIX 


,o 141. Le Secret pe Mairre Corneitre. Etching. 
ames Beraldi, No. 111. 
SY : Signed on the plate,—“F. Buhot.” Etched with sym- 


phonic margin. 


BUHOT, FELIX 
142. Les Ores. Etching. 


) . 
me Beraldi, No. 166. 
ferns Signed in pencil,—‘“‘epreuve d’artiste Felia Buhot.” Fine 
ree IMPRESSION. 
Mas SS 


DAVID YOUNG CAMERON 


Celebrated contemporary Scotch painter and engraver. Born at Glasgow 
in 1865. 

“In examining Cameron’s etchings it is not easy to designate his forte. . . 
Cameron (though we hope his best work is still to be done) already shows 
himself equally at home when delineating pure landscape, views of build- 
ings and shipping, interiors, or portraits.”—¥YREDERICK KEPPEL. 


CAMERON, DAVID YOUNG 


148. Upper Crypr Vautiry. Etching. 
Rinder, No. 31. 
Etched in 1889. One of the Clyde Set, published in 1890 
( D° in 22 sets. Signed on the plate, and in pencil,—‘D. Y. 
. Cameron.” Printed by F. Goulding, and so signed by him 
in pencil,—‘*F’. Goulding, imp.” 


CAMERON, DAVID YOUNG 


144. Upper Crypr Vatiey. Etching. 

Rinder, No. 31. 

Be . One of the Clyde Series published in 1890 in 22 sets. 
/ \0 Signed on the plate, and in pencil_—‘D. Y. Cameron.” 
o Proor printed by F. Goulding, and so signed by him. 


First Session, Monday Evening, January 29th 


CAMERON, DAVID YOUNG 


145. Sounp or Kitprannon AND Entrance tro Locu Fyne. 


Etching. _ 
24 Rinder, No. 45. 
a Signed on the plate, and in pencil,—‘D. Y. Cameron.” 


IMPRESSION PRINTED BY THE MASTER-PRINTER, FREDERICK 
GouLDING, AND SO SIGNED BY HIM IN PENCIL,—‘‘F’. Gould- 
ing imp.” 


CAMERON, DAVID YOUNG 


146. Perru. Etching. 
| Rinder, No. 72. 
\ Etched in 1890. Signed on the plate, and in pencil,— 
| “D. Y. Cameron.” 


CAMERON, DAVID YOUNG 


147. Wuire Hovsr Criose. Etching. 
* Rinder, No. 86. 


Signed on the plate, and in pencil,—“D. Y. Cameron.” 


CAMERON, DAVID YOUNG 


148. Tue Winpmity. Etching. 
Rinder, No. 1381. . 
Etched in 1892. Signed on the plate, and in pencil,— 
b “Dt. Y. Cameron.” One of the “North Holland Set.” 
Ten complete sets and a few additional impressions. 
i / FINE. 
Ta CAMERON, DAVID YOUNG 
/ 149. Lecrorr. Etching. 
\ - Rinder, No. 177. 
es Etched in 1893. Signed on the plate, and in pencil,— 
D. Y. Cameron.” About twelve impressions. VERY RARE. 


CAMERON, DAVID YOUNG 
150. A Borper Town. Etching. 

Rinder, No. 196. 

Etched in 1894. Signed on the plate, and in pencil,— 
na “1D. Y. Cameron.” Fixe impression. Rare. 


! 


First Session, Monday Evening, January 29th 


CAMERON, DAVID YOUNG 


151. Drysuren. Etching. 


Rinder, No. 282. 

Etched in 1896. Signed on the plate, and in pencil,— 
“D. Y. Cameron.” Fine IMPRESSION ON WIDE MARGINED 
PAPER. 

On September 26, 1882, Sir Walter Scott was interred 
here, in the tomb of his maternal ancestors, the Hali- 
burtons of Newmains, who at one time owned Dryburgh 


Abbey. 


CAMERON, DAVID YOUNG 
152. Lepatc. Etching. 


Rinder, No. 278. 
Etched in 1897. Signed on the plate, and in pencil,— 
“D. Y. Cameron.” Srconp state before the plate was 


cut down. Rare. 


‘CAMERON, DAVID YOUNG 
153. “Yr Banks anp Brass.” Etching. 


Rinder, No. 279. 
Etched in 1897. Signed on the plate, and in pencil,— 
“D. Y. Cameron.” Srconp starr, before various dry- 


point touches. 


CAMERON, DAVID YOUNG 


154. VaLe or THE CrypE. Etching. 


Rinder, No. 2838. 
Signed on the plate, and in pencil,—‘D. Y. Cameron.” 


VERY FINE. 


“As an etcher of landscape Cameron’s achievements are certainly 
not less, indeed as I think they are more, considerable, than in 
architecture. In the landscapes there may with greater surety be 
traced the way in which linear organization, design, emphasis of 
mass, and the whole technical equipment have ceased to be exploited 
as ends in themselves, but instead have increasingly been used as 
means toward the shaping of fundamentally expressive images.”— 
FRANK RINDER. 


First Session, Monday Evening, January 29th 


CAMERON, DAVID YOUNG 


155: Tue Horst Guarps. Etching. 
Rinder, No. 292. 


Be Etched in 1899. Signed on the plate, and in pencil,— 

~ “TD. ¥Y. Cameron.” One of the London Set, published in 

i pit 1900, in 35 complete sets, and a few additional impressions. 

a First state, before additional work on building to extreme 
left. 


CAMERON, DAVID YOUNG 


156. Tue Paxace or Joannis Darius. Etching. 
Rinder, No. 309. 


“ 
Y ~ Signed in pencil,—“D. Y. Cameron.” First starr BEFORE 
y THE LENGTHENING OF THE SHADOW OF THE DOORWAY IN THE 
rl WW WATER. EXTREMELY RARE. 
‘?) ‘ 
: CAMERON, DAVID YOUNG 
157. Ca D’Oro. Etching. 
a / Rinder, No. 310. 
a oy, Etched in 1900. Signed in pencil,—“D. Y. Cameron.” 
4 x VERY FINE AND RARE. 
CAMERON, DAVID YOUNG 
: 158. Ca D’Oro. Etching. 
Rinder, No. 310. 
ul Signed in pencil,—‘D. Y. Cameron.” BEAUTIFUL RICH 
7 IMPRESSION, ON JAPAN PAPER. IN PERFECT CONDITION. 
a bo EXTREMELY RARE. ONE OF THE ARTIST’S MASTERPIECES. 


2 CAMERON, DAVID YOUNG 


159. Excuo on tHE Tay. Etching. 
Rinder, No. 312. 


/ Signed on the plate, and in pencil,—‘D. Y. Cameron.” 
Eariy sTATE, UNDESCRIBED BY Rinper. The plate is 
Vv" larger,—1014 x 18 15/16 inches; before the denser shad- 
iS : 
4 ing on the trees to extreme left. 


“And of the landscapes, what? Here, even more than in other direc- 


ie) tions, perhaps, Cameron has come to substitute for a certain objective 

o/ impartiality, at first strongly tinged with the influence of Rembrandt, 

~ a vision interpretive of a grave and haunting inner rhythm, a rhythm 

0 sustained by abiding nostalgia for light and the message of light.”— 
\ , FRANK RINDER. 


ae 


\ ; 


ad 


y’ 


First Session, Monday Evening, January 29th 


CAMERON, DAVID YOUNG 


~« 160. THe Docr’s Patace. Etching. 
( Rinder, No. 826. 
{ Etched in 1902. Signed on the plate, and in pencil,— 
\ x xf ~ “D. Y. Cameron.” EXTREMELY RARE. 
oe “Cameron’s real theme is architecture. But it is Architecture 
EN charged—as Meryon’s Architecture in his Paris prints is charged 


,, (and charged indeed beyond all else in the world)—with human 
, ' association.” —FREDERICK WEDMORE. 


[ See Reproduction] 


CAMERON, DAVID YOUNG 


161. Cuartres. Etching. 
Rinder, No. 327. 
ie Signed on the plate, and in pencil,—‘“D. Y. Cameron.” 
W/, BEAUTIFUL IMPRESSION. EXTREMELY RARE. 


CAMERON, DAVID YOUNG 


162. Hoven pre Sens, Paris. Etching. 
Rinder, No. 363. 


4 7 Etched in 1904, Signed on the plate, and in pencil,— 
9 : a “D. Y. Cameron.” FINE IMPRESSION. 
ly MS Ye“ The name commemorates the fact that in the fifteenth cen- 
~ Y tury, when this hotel was built for the occupation of the 
Le Archbishops of Sens, Paris was under their ecclesiastical 
Cys ; jurisdiction. 


CAMERON, DAVID YOUNG 


163. O_p Saumur. Etching. - 

Rinder, No. 371. _- 

Etched in 1905. Signed on the plate, and in pencil,— 
“D. VY. Cameron.” Fourtu state, before several em- 
phatic drypoint touches on street and steps to the left. 
Oxry 4 or 5 IMPRESSIONS OF THIS STATE, AND ONLY ABOUT 
35 proors IN ALL. BEAUTIFUL IMPRESSION. 
Balzac in “Eugenie Grandet” graphically describes one of | 
the half-deserted quarters of Saumur. 


‘ o : 
n/\ / > 


[onSoyez¥o sty} UT OOT ‘ON 226 ] 
978 ‘ON ‘lapurgy—aovIvd §,a90q FHI, 
NOWHNVO DNOOA AIAVG 


ee ASS, Puta 


First Session, Monday Evening, January 29th 


CAMERON, DAVID YOUNG 
164. PruscarpeNn. Etching. 
Rinder, No. 880. | 
Etched in 1906. Signed on the plate, and in pencil,— 
SDoY “Cameron. * 


4 CAMERON, DAVID YOUNG 
165. On tHE Ovurtue. Etching. 


/ Rinder, No. 398. 
bonne Etched in 1907. Signed on the plate, and in pencil,— 
i vs ie “D. Y. Cameron.” Sxrconp state, before additional dry- 
| ‘| WA point work. RicH mmpREssION ON JAPAN PAPER. 


CAMERON, DAVID YOUNG 


166. Tue Desert. Etching. 
Rinder, No. 410. 
Etched in 1909. Signed on the plate, and in pencil,— 


0° “D. Y. Cameron.” Turrp state, before the plate was 
ee cut down. Rare. 
— 


CAMERON, DAVID YOUNG 


‘eg —. 


167. Tur Mosaurt Doorway. Etching. 


t Rinder, No. 4138. 
AONE I Etched in 1910. Signed on the plate, and in pencil,— 
es ( “D. Y. Cameron.” 'Tutrp state, with three lamps, and 
i oe : at : before the second figure cast a deep shadow. Sprenpip 
a. . IMPRESSION. OF GREAT RARITY. 
CAMERON, DAVID YOUNG 
168. rete in Carro. Etching. 
oe .  Rinder, No. 414. 
». 2 Etched in 1910. Signed on the plate, and in pencil,— 
VE. y oY “D. Y. Cameron.” FrIxe R1cH IMPRESSION. 
: y 
x CAMERON, DAVID YOUNG 
° 169. Tur Wine tess CurmerA, Amiens. Etching. 
Rinder, No. 416. 
AS. Etched in 1911. Signed on the plate, and in pencil,— 
We “D. Y. Cameron.” PrRoo¥r PRINTED ON OLD DutTCH PAPER. 
0 


First Session, Monday Evening, January 29th 


CAMERON, DAVID YOUNG 
170. Yvon. Etching. 
Rinder, No. 425. 
- { Etched in#l91]. Signed on the plate, and in pencil,— 
yp “D. Y. Cameron.” Rich IMPRESSION. 
\ J A famous restaurant in Chartres. 


CAMERON, DAVID YOUNG 


171. A Car or Busastis. Etching. 
Rinder, No. 426. 
0 i Etched in 1911. Signed on the plate, and in pencil,— 
( ¥ “D. Y. Cameron.” Ricu proor on oLpD DUTCH PAPER. 


CAMERON, DAVID YOUNG 


172. Tue Lion anp tHE Unicorn. Etching. 
p Rinder, No. 427. 
my Etched in 1911. Signed on the plate, and in pencil,— 
ey, “D. Y. Cameron.” This etching serves as a frontispiece 
\ to the Edition de Luxe of the Rinder catalogue. 


p° 


CAMERON, DAVID YOUNG 


173. Peaxs or Arran. Etching. 
Not in Rinder. 
. p? / Signed on the plate, and in pencil,—“D. Y. Cameron.” 
Early STATE BEFORE THE PLATE WAS CUT DOWN. FINE 


oO . 
aV/ IMPRESSION. 


CAMERON, DAVID YOUNG 


173a. RixpEx (Franx). D. Y. Cameron. An Illustrated Cata- 
logue of his Etched Work, with Introductory Essay & 
Descriptive Notes. 4to, half vellum and cloth, gilt top, 
4 d a uncut. Glasgow, 1912 
| / Special Edition on hand-made paper,—No. 169 of 200 copies—with 


4 
4 f) Proors oN JAPANESE VELLUM, and Etching of the “Lion and the Uni- 
b corn,” as frontispiece, sIGNED IN THE AUTOGRAPH OF THE ARTIST. 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS COLLECTORS 
AND OWNERS HEREINBEFORE DESIGNATED 


Second Session, Numbers 174 to 34/7, inclusive 


TUESDAY EVENING, JANUARY 30th, AT 8:15 O’CLOCK 


MARY CASSATT 
Born at Pittsburgh in 1855. She studied at the Pennsylvania Academy of 


Fine Arts and later with Degas. She has won for herself the position of 
one of the foremost depicters of child life in France and America. 


CASSATT, MARY 


174. Woman Houpine Cutty. Drypoint. 
Signed in pencil,—“‘Mary Cassatt.” Earity TRIAL PROOF. 
VERY FINE AND RARE. 


CHARLES CHAPLIN 


French painter and etcher. Born at Les Andelys in 1825; died at Paris in 
1891. 


CHAPLIN, CHARLES 
175. Tue Spryner. Etching. 
Beraldi, No. 14. 


Signed on the plate, and in pencil,—‘Ch. Chaplin.” 
Proor. 


R. J. CHATTOCK 


English etcher. Flourished about 1870. 


CHATTOCK, R. J. 


176. Tue Srone Brince. Etching. 


)° Signed in pencil,—‘*R. S. Chattock.” 


Second Session, Tuesday Evening, January 30th 


THEOPHILE CHAUVEL 


French etcher. Born at Paris 1831. As a pupil of Picot and dAligny, 
he won renown, not only by his own painter-etchings, but by his interpreta- 
tions of paintings of Daubigny, Dupré and Rousseau. 


CHAUVEL, THEOPHILE 


eres 


CLAUDE 
178. 


CLAUDE 


179. 
Bor 


L’Orace. Lithograph. 
Delteil, No. 104. 
Drawn after the painting by Diaz. Signed in pencil,— 
“Th. Chauvel.” Tria Pproor. Bri~tiuiant ImMpREssion. 
From the collection of Alfred Le Brun. 


CLAUDE GELEE DE LORRAINE 


French painter and etcher. Born in 1600 at Chamagne in the ancient 
province of Lorraine. With the exception of boyhood and two years of 
wandering, the whole of his life and all of his work was executed in or 
near Rome. He died in 1682. ; 
“Claude was indefatiguable to get a really solid basis of art training, to 
penetrate into the utmost secrets of nature. Day after day he would 
be up before dawn and far into the Campagna, heedless of fatigue he 
would stay there until after nightfall, noting every phase of nature.”— 
SANDRART. 


(GELEE) DE LORRAINE 


Le Pont vr Bors. Etching. 
Robert-Dumesnil, No. 14. 
Unsigned. First stare. SUPERB IMPRESSION, IN PER- 
FECT CONDITION. 
From the collections of Camberlyn, Robert Dumesnil and 
Firmin-Didot. 


(GELEE) DE LORRAINE 


Tue Rare or Evropa. Etching. 
Robert-Dumesnil, No. 22. 
Signed in the lower right corner,—‘Claude Gelée, 1634.” 
From the W. B. Cooke collection. 
A CHARMING INVENTION IN THE TRADITION OF THE GRAND 
STYLE OF LANDSCAPE PAINTING. 


Second Session, Tuesday Evening, January 30th 


JEAN BAPTISTE CAMILLE COROT 


“Corot, born in 1796, united the classic and romantic in his education; but 
remained so personal in his views that his art retained a youthful fresh- 
ness up to the time of his death in 1875.”—r. 5. wicKENDEN. 


COROT, JEAN BAPTISTE CAMILLE 


180. Souvenir v’Irauie. Etching. 
Delteil, No. 5. 
Tuirp state, with the letters and rounded corners. Corot 


iy drew the subject on the copper and his friend, Bracque- 
mond... bit it in.” 


I~ 


COROT, JEAN BAPTISTE CAMILLE 
181. Dawns tes Dunes. Etching. 
Delteil, No. 9. 


Etched in 1869. Signed on the plate in the margin,— 
eorol.” 


CHARLES FRANCOIS DAUBIGNY 


French painter and etcher. Born at Paris in 1817; died there 1878. 
“Thirty years have passed since Daubigny laid down his brushes and 
etching-needle forever. Yet his fame has broadened year by year, and 
his works have kept their place among the classics in Art.”—Rr. g. 
WICKENDEN. 


DAUBIGNY, CHARLES FRANCOIS 
182. Le Nip pe w’Aicie. Etching. 
Henriet, No. 48. 
Signed on the bottom of the plate,—“Daubigny del. et 
3 sculp. ONLY STATE. 
Engraved after his own painting in the Salon of 1844. 


ANDRE DAUCHEZ 


Contemporary French etcher and aquatinter. Born in 1870; lived in Paris 
and Brittany. 


DAUCHEZ, ANDRE 


183. Anse A Mer Basse. Etching. 
) Catalogue, No. 48. 
/ Signed on the plate, and in pencil,—“‘André Dauchez.” 
Impression No. 5 or 30 PROOFS PRINTED. 


NON 9A 
3" os a 


Second Session, Tuesday Evening, January 30th 


JEAN JACQUES DE BOISSIEU 


French etcher. Born, 1736; lived at Lyons; died in 1810. He was one 
of the first to practice landscape etching after the great period of 
classical engraving in France, and was therefore, in a sense, a fore- 
runner of the Barbizon etchers. 


DE BOISSIEU, JEAN JACQUES 


184. Vue Prise A L’ARBRESTE, EN Lyonnais. Etching. 
) De Boissieu (Rapilly), No. 89. 
/ “a ¢ Signed on the lower margin,—“D B 1793.” 
From the collection of Henri le Sec des Tournelles. 


WILLEM JACOBSZ DELFF 


Dutch engraver. Born at Delft in 1588; died there in 1638. He engraved 
chiefly the paintings by his father-in-law,—Michiel van Miereveldt. 


DELFF, WILLEM JACOBSZ 


cy 185. JosepH Det Mepico. Line-engraving. 


oigtd Franken, No. 44. 
On ee poe ae 
Engraved after the painting by Duyster. Inscription on 
( the margin lettered in ink. VERY FINE AND SCARCE. 
N 
me 
GILLES DEMARTEAU 
Inventor of the Crayon manner. 
“Another successful engraver was Gilles Demerteau (1722-1776), whose 
imitations of Boucher’s drawings are so skillfully executed, as on hasty 
examination to deceive any but the practised eye.”—R. NEVILL. 
vy DEMARTEAU, GILLES 
ae fr388. Tire pe Femme. Engraving. 
pio L. de Leymarie, No. 249. 
Ny ( Encravine In coor, in the crayon manner, after the 
¥ oe drawing by Boucher. With the engraver’s address, and 
ay the No. 249. Very rine anp RARE. Margin trimmed to 


engraved border. Framed. 


a’ 


Second Session, Tuesday Evening, January 30th 


DEMARTEAU, GILLES 


4 


187. Tre pe Femme. Engraving. 


L. de Leymarie, No. 250. 

ENGRAVING IN COLOR, in the crayon manner, after the 
drawing by Boucher. With the engraver’s address, and 
the No. 250. Very FINE AND RARE. Margin trimmed 
to engraved border. Several creases and a very slight tear. 
Companion piece to the preceding. Framed. 


DEMARTEAU, GILLES 


188. Le Marcuanp p’Huirres. Engraving. 


L. de Leymarie, No. 454. 

ENGRAVING IN coLor, in the crayon manner, after the 
drawing by Clermont. Impression cut close to engraved 
surface, and new margin attached; title, address and num- 
ber added by hand, the number being put on inaccurately, 
456 instead of the correct number, 454. Fixe mvpReEssIon. 
Framed. 

Companion to “La Marchande de Lait.” 


DEMARTEAU, GILLES 


/— 


189. La Marcuanpe ve Lair. Engraving. 


L. de Leymarie, No. 455. 

ENGRAVING IN coLor, in the crayon manner, after the 
drawing by Clermont. With the title, engraver’s address, 
and the No. 455, and with 14 inch margin outside the 
engraved border. SpLENDID IMPRESSION AND CONDITION. 
One slight pin prick. Framed. 

Companion piece to “Le Marchand d’Huitres.” 


PIERRE DREVET 


French engraver. Born at Loire in 1663; died at Paris in 1738. Pupil of 
Germain Andran, at Lyon and later of the latter’s more famous brother,— 
Gérard Andran, at Paris. The Drevets, father and son, were the dominant 
influence in the engraving of their time. 


DREVET, PIERRE 


190. Rogert pre Corre. Line-engraving. 


Firmin-Didot, No. 34. 

Engraved after the painting by Rigaud. Signed on the 
plate,-—‘Gravé par Pire Drevet.” Ont or DReEvET’s 
FINEST PLATES. 


XG 


i 


ss 


Second Session, Tuesday Evening, January 30th 


ALBRECHT DURER 


Celebrated German painter and engraver. Born of Hungarian descent at 
Nuremberg in 1471, died there in 1528. He studied with Michael Wolgemut 
at Nuremberg and made several journeys to Italy. Like so many of the 
great artists of the period, he was a man of wide attainments. A scientist, 
writer, and mathematician as well as artist, he counted among his friends 
Erasmus, Luther, Melanchthon, Bellini and Raphael. His influence domi- 
nated the engraving of all the North Countries. His copper-engravings, 
woodcuts, and even his etchings in their way have never been surpassed. 
“Diirer did not possess the the modern sense of limitation. . . His imagi- 
nation was deeply suggestive, straightforward, and marvelously fertile 
in invention; but he interpreted the imaginative world in terms of daily 
and often homely life; he knew beauty only as German Beauty, and life 
and its material surroundings only as German life and German civili- 
zation. . . But the grotesqueness disappears as the eye becomes acquainted 
with the unfamiliar, and the mind is. occupied with the emotion, the 
intellectual idea, and imaginative truth expressed in these sometimes ugly 
modes, for they are of that rare value which wins forgiveness for far 
greater defects of formal beauty than are apparent in Diirer’s work.”— 
GEORGE EDWARD WOODBERRY. 


DURER, ALBRECHT 


191. Tue Fruaceiuation. Woodcut. 


Bartsch, No. 8. . 
Signed on the block with the monogram,—*4.D.” From 
the set of the Great Woodcut Passion. Margin slightly 
trimmed on the left. Several mended tears. With Latin 
text on the back. 


DURER, ALBRECHT 


192. Tur Propicat Son. Engraving. 


Bartsch, No. 28. 

Signed at the bottom of the plate with the monogram,— 
“A.D.” Goop IMPRESSION IN FINE conpiITION. Printed 
in black ink on paper water marked with the Little Jug. 
Duplicate from the Berlin Museum. 

A very early plate, as may be known by the style of the 
monogram, and also by the treatment, especially in the 
trees. It is generally believed that, in “The Prodigal 
Son,” Diirer has drawn his own portrait. 


Second Session, Tuesday Evening, January 30th 


DURER, ALBRECHT 


193. Tue Propicat Son. Engraving. 
Bartsch, No. 28. 
i Signed on the plate, with the monogram “A.D.” Fair 
\ , impression, trimmed slightly within plate-line at the top, 
two corners slightly mended. Framed. 


DURER, ALBRECHT 


194. Tuer Viren with SHort Hair. Engraving. 
Bartsch, No. 33. 
Signed on the plate with the monogram “A.D. 1514.” 
FINE IMPRESSION IN GOOD CONDITION. 


-“For in the same way as they (the ancients) applied the most beau- 

tiful figure of a man to their idol, Apollo, thus we will take the same 

> 4 measurement for Christ, the Lord, who is the most beautiful of all 

; the world. And as they have used Venus as the most beautiful 

woman, thus will we chastely devote the same graceful figure to the 

most pure Virgin, the Mother of God.”—atsrecut pirer’s Notes for 

an Introduction to his Book, “On the Proportions of the Human 
Body.” 


[See Reproduction | 


DURER, ALBRECHT 


195. Virern Nursinc THE Cuitp. Engraving. 
Bartsch, No. 36. 
Signed on the plate with the monogram,—“4.D.” 1512.” 
, 0° Fair impression, trimmed just inside plate-mark. One 
thin spot and one pin prick, otherwise in good condition. 


DURER, ALBRECHT 


196. Curist Nattep To THE Cross. Woodcut. 
Bartsch, No. 39. 
Signed on the block with the monogram,—“4.D.” From 
2 the set of the Little Woodcut Passion. SpLeNpID EARLY 
“Y IMPREssIoN, before the text on the back, but slightly torn 
and trimmed inside the margin. 


Note from Diirer’s Diary of a Journey to the Netherlands,—‘Sold 
to Sebald Fischer at Antwerp. The Small Passion 4 sets for 1 
florin; The Apocalypse, The Large Passion, The Life of the Virgin, 
4 sets for 1 florin.” 


[2 


. 


ECHT DURER 


ALBR 


Snort Harr.—Bartsch, No. 33 


19 


NW EL 


3) 
= 
= 
fs 
cr 
H 


in this catalogue | 


4 


4 


No 


vo 

v 
2 
SS 


uf 


Second Session, Tuesday Evening, January 30th 


DURER, ALBRECHT 


tg 


/ 


“ve 


197. Tue Hoxry Famiry anp THE Dracon Fry. Engraving. 


7 


Bartsch, No. 44. 

THs Is ONE OF THE EARLIEST OF HIS PLATES AND WAS DONE 
PROBABLY ABpout 1495. Signed on the plate with the 
monogram,—‘“4.D.”’ 


DURER, ALBRECHT 


198. Hoty Famity wirn tHe Dracon Fry. Engraving. 


Bartsch, No. 44. 

Signed on the plate, with the monogram,—“4.D.” Proor 
with the slipped stroke above Mary’s head. Margins 
rather frail, and with several very small tears mended. 
Framed. 


DURER, ALBRECHT 


wy 


( 


199. Sr. Jerome rN Penirence. Engraving. 


Bartsch, No. 61. 
Signed near the bottom of the plate with the monogram,— 
dy | D 9 

“St. Jerome was one of the favorite saints of Diirer’s and later 


times, and therefore often taken as a subject by artists. The lion 
accompanies him because, according to the legend, he drew a thorn 


from the paw of the animal which ever afterwards was his com- 


panion.”—s. R. KOEHLER. 


DURER, ALBRECHT 


f 


200. Tue Marryrpom or Str. Joun THE Evanceuist. Woodcut. 


Bartsch, No. 61. 
Signed on the block with the monogram,—*‘4.D.” Fixe 
IMPRESSION, WITH MARGIN. From the set of the Apoca- 


lypse. 


DURER, ALBRECHT 


201. Sr. Jerome In Penrrence. Pen and Wash Drawing. 


Bartsch, No. 61. 

A copy by an anonymous hand after the engraving by 
Diirer. 

From several unidentified collections. 


Second Session, Tuesday Evening, January 30th 
EERIE OF Ties eel Ti av 


DURER, ALBRECHT 


202. Tur Seven Gotpen Canpiesticks. Woodcut. 
Bartsch, No. 62. 
/ Signed on the block with the monogram,—*4.D.” From 
if a the set of the Apocalypse first issued in 1498. Five 
[S\ 


IMPRESSION with Latin text on the back. 


“And I turned to see the voice that spake with me. And being 
turned, I saw seven golden candlesticks; and in the midst of the 
seven candlesticks One like unto the Son of Man, clothed with a 
O garment down to the foot, and girt about the paps with a golden 
Aw, girdle. His head and His hairs ‘were white like wool, as white as 
. snow, and His eyes were as a flame of fire; and His feet like unto 
fine brass, as if they burned in a furnace; and His voice as the 
sound of many waters, And He had in His right hand seven stars; 
and out of his mouth went a sharp two-edged sword; and his coun- 
tenance was as the sun shineth in its strength.” 


DURER, ALBRECHT 


P } 208. Tue Lirrte Fortune. Line-engraving. 
Lh . id ( Bartsch, No. 78. 
es Signed on the plate with the monogram,—*‘4.D.” Ricu 
vee IMPRESSION IN FINE CONDITION. 
From the Hérédia collection. 
DURER, ALBRECHT 3 
204. Joacuim AND ANN UNDER THE GoLpEN Gatr. Woodcut. 
{ A Bartsch, No. 79. 
I] Zz Signed on the block with the monogram,—“4.D.” From 
ca the set of the “Life of the Virgin.” FINE IMPRESSION. 
5 The material for the “Life of the Virgin” was gathered 
yi mostly from the Apocryphal Gospels. This scene repre- 


sents the father and mother of Mary after the return of 
Joachim from the wilderness, where the angel had prom- 
ised him a daughter. 


DURER, ALBRECHT 


f 205. Fricut into Ecypr. Woodcut. 
wy 


Bartsch, No. 89. 
Signed on the block, with the monogram,—‘A.D.” Early 
» state with the Latin text on the reverse. ONE OF THE 
A RAREST AND MOST CHARMING suBJECTs in the series of the 
“Life of the Virgin.” Good impression with plate-line 
intact. On paper with the watermark “Haussmann, 
IN 


Second Session, Tuesday Evening, January 30th 


DURER, ALBRECHT 


4? 


206. CHrist AMonG THE Doctors. Woodcut. 


Bartsch, No. 91. 

Signed on the block with the monogram “4.D.”” From the 
set of the “Life of theVirgin.” Fair impression. 

Also, copy of the same executed on copper, by Marcantonio 
Raimondi. Rare and fine impression. In perfect con- 
dition. 


Together, 2 pieces. 


DURER, ALBRECHT 


207. Tur Deatni or THE Vircin. Woodcut. 


Bartsch, No. 938. 
Signed on the block with the monogram,—‘“‘4.D. 1510.” 
From the set of the “Life of the Virgin.” Poor impression. 


DURER, ALBRECHT 


em, 


208. Tue Lirrie Horst. Line-engraving. 


Bartsch, No. 96. 
Signed near the bottom of the plate with the monogram,— 
“A.D.” Engraved in 1505. 


From the A. Donnadieu collection. 


DURER, ALBRECHT 


209. ArserT oF BranpEnBuRe. Line-engraving. 


Bartsch, No. 108. 
Signed on the plate with the monogram,—‘“‘4.D.” 
From the F. Debois collection. 


DURER, ALBRECHT 


y 


A 


210. Marryrpom or St. CatHerine. Woodcut. 


Bartsch, No. 120. 
Signed on the block with the monogram,—‘4.D.” 


a psn" 
Ywo<Y 
ad 


Second Session, Tuesday Hvening, January 30th 


GERARD EDELINCK 


Born at Antwerp, 1640; died at Paris, 1707. Pupil of C. Galle and 
later of Poilly at Paris. Although born at Antwerp, he became French 
by adoption and engraved in the great French tradition. The great Italian 
engraver Songhi says of Edelinck that he is the engraver whose works 
deserve the first place among exemplars. 


EDELINCK, GERARD 


211. CHarztes Corspert, Marauis pE Crorssy. Line-engraving. 
ee, Robert-Dumesnil, No. 175. 
F7.) hs Engraved after the painting by Rigaud. Signed on the 
plate,—“‘Edelinck sculp CPR 1691.” BrautTiruL IMPREs- 


\. sf SION IN PERFECT CONDITION. 


BERNARD EYRE 


Contemporary British etcher living in Surrey. He is an Associate of the 
Royal Etching Society. 


L EYRE, BERNARD 
fe 212. Ory Mixzi, Evenine. Etching. 


Signed in pencil,—“Bernard Eyre.” Impression ON 
JAPAN PAPER. 


9 
fy 
WILLIAM FAITHORNE 
English engraver. Born in 1616. We studied under Robert Peake and 
John Payne. Died in 1691. 
FAITHORNE, WILLIAM 
/ 218. Henry Cary. Eart or Monmoutu. Line-engraving. 
is \ Fagan, page number 49. 


Signed on the plate,—‘Guwil. Faithorne fe.” BriLiIant 
Y IMPRESSION. 
“Vv From the Durrant and Drugulin collections. 


Second Session, Tuesday Evening, January 30th 


HENRI FANTIN-LATOUR 


French painter and lithographer. Born at Grenable in 1836; died at 
Buré in 1902. 


“Allowing for the development which time and experience afford to any 
serious worker, what he was at first he remained to the last—an idealist, 
an imaginative dreamer; in a word a poet.”—FREDERICK KEPPEL, 


FANTIN-LATOUR, HENRI 

214. Reverie. Lithograph. 
J Hediard, No. 159. eae 
| Signed on the plate,—“H. Fantin.” 


FANTIN-LATOUR, HENRI 


214a. Batenevses. Lithograph. 15m 
Hediard, No. 125. 


A CHARMING AND CHARACTERISTIC PLATE. 


MARIANO FORTUNY 


Spanish painter and etcher. Born at Rens (Spain) in 1838; died at Rome 
in 1874. 


“Beraldi applauds his etchings for their originality. Let us honor them 
too for their fidelity to life for their simple strength, as well as for their 
light, vivacious charm.”—RoyYAL CORTISSOZ. 


FORTUNY, MARIANO. j 


215. Grape pE LA Caspan A Tervan. Etching. 
Beraldi, No. 5. 


/ INDIA PAPER PROOF. VERY RARE AND FINE. 


JEAN FRELAUT 


Contemporary French etcher. Frélaut has a peculiarly original technique. 


FRELAUT, JEAN 


- vA 
216. Lavpr pe Keriann. Etching. (o': 
Signed in pencil,—‘Jean Frélaut.” Impression No. 10 
oF 30 PROOFS PRINTED. 


Second Session, Tuesday Evening, January 30th 


FERDINAND GAILLARD 


French engraver. Born at Paris in 1834; died there in 1887. 

“A noteworthy attempt to save the art of line-engraving from a deadening 
system was made by Henriquel-Dupont. His aims were carried even 
further by Gaillard who achieved the subtlest gradations of tone by a 
supremely delicate manner of cutting with the burin, and to some extent 
by etching.”—a. mM. HIND. 


GAILLARD, FERDINAND 


217. Prince Binasco. Line-engraving. 
va Beraldi, No. 19. . 
4 ‘dike STAMPED WITH GAILLARD’S SIGNATURE. 
ne ik 
\ OTTO GAMPERT 


Contemporary German-Swiss etcher and aquatinter. Born at Ottenbach 
(near Zurich) in 1842. Lives at Munich. 


GAMPERT, OTTO 


i 218. SanpHiiGEL AN DER AmpeR. Soft ground etching. 
il Signed in pencil,—‘“‘O. Gampert.” Impresston PRINTED 
( 


‘ IN GREENISH INK. 


PERCIVAL GASKELL 


Contemporary English artist, working in etching, aquatint, and mezzotint. 
GASKELL, PERCIVAL 


ee 219. Ferrecte. Mezzotint. 
‘es Signed in pencil,—‘Percival Gaskell.” 


ANDREW GEDDES 


0 Scotch painter and etcher. Born, 1783; died 1844. Lived at Edinburgh 
\ and London. He was one of the first to take up the freer processes of 
etching and drypoint, after the long continued supremacy of mezzotint 

. in British art. 


GEDDES, ANDREW 


[ 220. Porrrarr or Davin Bringss, Jr. Etching. 
Laing, No. 5. 
Etched in 1816. Signed on the plate with the initials.— 
(2 As Gee 
David Bridges the eminent art connoisseur was born at 


Edinburgh in 1776. 


eS eer 


Second Session, Tuesday Hvening, January 30th 


GEDDES, ANDREW 


221. Hampstead, Cant Woop. Etching. 
Laing, No. 33. 
4 First state. Very FINE. ‘THE WRITING BELOW IS IN THE 
ARTIST'S OWN HAND. 
From the collection of Philippe Burty. 


ACHILLE GILBERT 


French painter and etcher. Born at Paris in 1828. His work is mainly 
in the field of reproductive and portrait engraving. 


GILBERT, ACHILLE 


222. Interior. Etching. 
Etched after Edouard Frére. Proor on JAPAN PAPER BE- 
FORE ALL LETTERS. 


H. GILLBANK 


An English mezzotint engraver, working in the late eighteenth century. 


GILLBANK, H. 


223. Tuer BENEVOLENT Heir, or, THe Tenant Restorep to His 
Famity. Mezzotint. 
© PrinTED IN cotors, after Bigg. Lerrer proor. VERY 
FINE IMPRESSION, IN PERFECT CONDITION, with 14 inch mar- 
gin outside plate line. 
Companion piece to “T'he Rapacious Steward.” 


GILLBANK, H. 


224. Tur Rapacious Stewarp, or, UNFortTuNATE ‘TENANT. 
Mezzotint. 
PRINTED IN coors, after Bigg. Lrerrer proor. VERY 
FINE IMPRESSION IN PERFECT CONDITION, with 14 inch mar- 
gin outside plate line. 
Companion piece to “The Benevolent Heir.” 


[les 


Second Session, Tuesday Evening, January 30th 


COLONEL ROBERT GOFF 


Contemporary English etcher. Born at London in 1837; lived at Brighton 
and Florence. 

“The two contemporary etchers who interest me most, among those I 
have not had occasion, yet, to write of, are two men unlike, perhaps, in 
nearly everything except in their possession of the essential quality of 
impulse.. Monsieur Hellen and our fellow countryman Colonel Goff.”— 
FREDERICK WEDMON. 


GOFF, COLONEL ROBERT 


225. Firorencre rrom Pozzo Guirarpno. Etching. 
Etched in 1892. Signed on the plate, and in pencil,— 
“R. Goff.” 


GOFF, COLONEL ROBERT 


226. Menar Straicuts. Etching. 
Etched in 1897. Signed on the plate, and in pencil,— 
“R. Goff.’ Fixe Impression. 


GOFF, COLONEL ROBERT 


G 


' 


227. Tur Sun’s Last Rays. Etching. 


Etched in 1901. Signed on the plate, and in pencil,— 
“R. Goff 1901.” 


GOFF, COLONEL ROBERT 


/ 


ez 


{ 


228. THe Waterway or A Great Crry. Etching. 
Etched in 1905. Signed on the plate, and in pencil,— 
“R. Goff.” 


GOFF, COLONEL ROBERT 


/S 


229. Cuarine Cross Briper. Etching. 
Signed in pencil,—‘R. Goff.” 


GOFF, COLONEL ROBERT 


y 


| 
‘ 


230. Eventne. Etching. 
Signed on the plate, and in pencil,—*R. Goff.” 


/ 
7: COLONEL ROBERT 


y, 


231. Mippersure, Hotianp. Etching. 
Signed on the plate, and in pencil,—“R. Goff.” 


GOFF, COLONEL ROBERT 


Y 


232. Pear Moss, Banaviz, Scortanp. Etching. 
Signed on the plate, and in pencil,—‘R. Goff.” 


Second Session, Tuesday Evening, January 30th 


HENDRIK GOLTZIUS 


Flemish engraver. Born at Miilbrecht in 1558. After studying engraving 
at home under Cornhaert, he traveled through Italy and Germany and 
resided for a time at Rouen, attracted by the works of Raphael, Michelan- 
gelo, and Caravaggio. Upon his return he settled at Haarlem, where he 
died in 1617. ; 

“Goltzius possessed great technical skill . . . He had many followers.”— 
W. O. CHAPIN. 


GOLTZIUS, HENDRIK 


233. Lucretia Frasting at THE Partace or Tareutin. Line- 


engraving. 
Bartsch, No. 104. 
ENGRAVED IN GOLTZIUS’S EARLY MANNER. 
From the Firmin-Didot and L. Galichon collections. 


CHARLES STORM VAN’S GRAVESANDE 


Contemporary Dutch etcher. Born at Breda in 1841; living at Brussels. 
Félicien Rops first suggested to him the use of the needle, which he used 
with such skill and application that he has now reached the position of 
dean among Dutch etchers. 


GRAVESANDE, CHARLES STORM VAN’S 
234. Dans Les Dunes Pres pe Haartem. Etching. 


Rice, No. 179. 
Signed in pencil,—“C. Storm vans Gravesande.” 


SIR FRANCIS SEYMOUR HADEN 


Eminent English etcher and surgeon. Born at London in 1818; died 
there in 1910. President of the “Royal Society of Painter Etchers.” 
“Seymour Haden is pre-eminently a landscape etcher. Resembling, cer- 
tainly in this respect, the greatest number of etchers. Whatever the land- 
scape be, it is always, it seems, landscape of character and landscape that 
the artist has enjoyed.”—rrEDERICK WETMORE. 

“Few artists of the nineteenth century are more certain of abiding fame 
than he. This is because he excelled all the other artists of his epoch in 
the important career of an etcher of landscape. No other etcher has 
given us such true presentations of the beautiful, quiet landscapes of 
England.”—FrEDERICK KEPPEL. 


HADEN, SIR FRANCIS SEYMOUR 
235. Kenstncton GarpeEens. Small plate. Etching. 


ca 


Harrington, No. 12. 

Etched in 1859. Signed on the plate, and in pencil,— 
“Seymour Haden.” Srconpv state, before the signature 
and date were erased. BEAUTIFUL IMPRESSION, ON JAPAN 


paper. 


Second Session, Tuesday Evening, January 30th 
praia ates) Po tee ns CEO 


y 
# 


/ HADEN, SIR FRANCIS SEYMOUR 


| Q' 236. Kenstncron GarpEns. Small plate. Etching. 
os Harrington, No. 12. 
c Signed in pencil,—“*Seymour Haden.” 


HADEN, SIR FRANCIS SEYMOUR 
237. Myrron Harti. Drypoint. 
rey Harrington, No. 14. 


ye 2 Etched in 1859. Signed on the plate, and in pencil,— 
“Seymour Haden.’ BEAUTIFUL IMPRESSION, ON THIN 


JAPAN PAPER, FULL OF BURR. 


/ “Mytton Hall—which, unlike Mr. Hamerton, I prefer to the Shere 

ff a ¢ —had been wrought one year earlier. It shows a shady avenue of 

7 » yew trees leading to an old manor house which receives the full light 

§ of the sun; and in that print, early as it may seem, was already the 

\ breadth of treatment which as years proceeded became more and 

more characteristic of Sir Seymour Haden’s work.”’—FREDERICK WED- 
MORE. | 


HADEN, SIR FRANCIS SEYMOUR 
238. Myrron Harz. Etching. 


‘ne /) ‘f Harrington, No. 14. 
Etched in 1859. Signed on the plate, and in pencil,— 
“Seymour Haden.” Fixe RICH IMPRESSION ON JAPAN 


és a ae PAPER. 
“1 Fone “Mytton Hall is an old Henry VII house, which I was in the habit 
of staying at for the purpose of salmon fishing in the River Ribble 


which runs past it.’—sEYMOUR HADEN. 


HADEN, SIR FRANCIS SEYMOUR 
ee 239. On tHE Test. Etching. 
Harrington, No. 20. 
lf {) se Signed on the plate, and in pencil,—‘Seymour Haden.” 
/ | 4 BEAUTIFUL LUMINOUS IMPRESSION, ON THIN JAPAN PAPER. 
IN PERFECT CONDITION. 


: 


Second Session, Tuesday Evening, January 30th 


HADEN, SIR FRANCIS SEYMOUR 


240. A Water Merapow. Etching. 
Harrington, No. 21. 
Signed in pencil,—‘‘Seymour Haden.” First state, BE- 
o FORE ADDITIONAL WORK IN sky. Printed by Delatre. a 
SUPERB IMPRESSION, IN PERFECT CONDITION. KC 
“I like this plate—which is saying a great deal.”—s. nu. 
ont . a Vivacious, happy, sympathetic transcript of a sudden rain- 


storm in the Hampshire lowlands, where poplars flourish and grass 
grows rank.”—FREDERICK WEDMORE, in “Fine Prints.” 


HADEN, SIR FRANCIS SEYMOUR 


241. A Warer Meapow. Etching. 
Harrington, No. 21. 

o Signed in pencil,—‘Seymour Haden.” First stare be- Log 
fore additional work in the sky at the top, and before the om 
downward rays to the right were duplicated. This plate 
and “On the Test” were both done on the same day. 


HADEN, SIR FRANCIS SEYMOUR 


242. Earty Mornine, Ricumonp Park. Etching. 
Harrington, No. 22. 4 0. 
j Signed in pencil,—‘‘Seymour Haden.” Firsr svare, BE 
d FORE THE FOUL BITING WAS CLEANED OFF. SUPERB IM- 
, PRESSION, ON THIN JAPAN PAPER. 


x} A) “The conception of the plate itself has a poetry of its own, and is 
L filled with the freshness of the morning.”—p. Gc. HAmERTON, Etchings 
and Etchers. 
“This was done actually at sunrise."—:kEYMoUR HADEN. 


HADEN, SIR FRANCIS SEYMOUR 


243. THe Earuiest Tree. Etching. 
Harrington, No. 23. / ‘ 
pg? Signed in pencil,—Seymour Haden.” Ownty starr. Torn 
at the left-hand plate-edge. 


HADEN, SIR FRANCIS SEYMOUR 


244, Kenstineton Garpens. Etching. 
Harrington, No. 28. Zoo ¥ 
/ Etched in 1860. The large plate. Signed in pencil,— 
> “Seymour Haden.” 


a 


Second Session, Tuesday Evening, January 30th 


HADEN, SIR FRANCIS SEYMOUR 


r~ 245. A By-roap ry Treperary. Etching. 


gx" 


Harrington, No. 30. 
Etched in 1860. Signed on the plate, and in pencil,— 
“Seymour Haden.” Eanty proor, before the rust in the 
lower right corner was removed. SUPERB IMPRESSION, ON 
THIN JAPAN PAPER. OF THE GREATEST RARITY. ONE OF 
THE MOST BEAUTIFUL PROOFS EVER PRINTED FROM THE 
PLATE. 


[See Reproduction | 


HADEN, SIR FRANCIS SEYMOUR 


246. Suere Mitt Ponn. Etching. 


Harrington, No. 88. 
Etched in 1860. Signed on the plate, and in pencil,— 
“Seymour Haden.” BEAUTIFUL IMPRESSION, IN PERFECT 
CONDITION. OF GREAT RARITY. — 

“With the single exception of one plate, by Claude, this is the 


finest etching of a landscape subject, that has ever been executed in 
the world.”—». g. HAMERTON, in “Etching and Etchers.” 


n) HADEN, SIR FRANCIS SEYMOUR 


247. Dunprum River. Etching. 


Harrington, No. 49. _ 
Signed in pencil,—‘Seymour Haden.” Hirst state. 


HADEN, SIR FRANCIS SEYMOUR 


248. Sunset in IrneLanp. Drypoint. 


Harrington, No. 51. 

Etched in 1863. Signed on the plate, and in pencil,— 
“Seymour Haden.” BEAUTIFUL RICH IMPRESSION, FULL OF 
BURR. OF THE GREATEST RARITY. 


“4 Sunset in Ireland is Haden’s best work in ‘dry-point, and it 
certainly deserves its reputation of one of its author’s masterpieces. 
The quiet, peaceful sunset behind the dark masses of trees makes a 
plate of exquisite beauty. There are great differences in the various 
states, so that a choice among them is extremely difficult. The rich, 
dark, late-evening effect of the second state is quite as fine in its 
way as the lighter and more delicate early-evening effect of the earlier 
impressions.” —ATHERTON CURTIS. 


[ansoyeze9 sty} Ul GHZ ‘ON 206 | 
‘O08 ON “Uo?bwisi0 F]— AUVUAddL], NI Gvou-Ag W 


NHGVH YOOWAUS SIONVUA YIS 


Second Session, Tuesday Evening, January 30th 


HADEN, SIR FRANCIS SEYMOUR 


249. Tue Towine Pato. Drypoint. 
ee Harrington, No. 76. 
ov . Signed on the upper right corner of the plate,—“Seymour 
Haden 1864.” Firsr stare with the words,—Hampton 
0 Court.” 
) This plate was one of the set of “Etudes 4 l’Eau-forte” 


published in France, with descriptive notes by Philippe 
Burty, in 1865-6. Seymour Haden always thought this 
one of his best plates. 


/ HADEN, SIR FRANCIS SEYMOUR 
Tp « 250. Kew Air. Etching. 
Harrington, No. 86. 
Etched in 1861. Signed on the plate, and in pencil,— 
“Seymour Haden.” First state. 


/ HADEN, SIR FRANCIS SEYMOUR 
251. Horstry’s Corracrs. Etching. 
AY Harrington, No. 101. 


Signed on the plate, and in pencil,—“Seymour H aden.” 
3, First sTATE. 


HADEN, SIR FRANCIS SEYMOUR 


Harrington, No. 1381. 


/ a, Etched in 1868. Signed on the plate, and in pencil,— 
“Seymour Haden.” First state. 


Ay 
C/ 252. A River ry Werrincron Park. Etching. 


HADEN, SIR FRANCIS SEYMOUR 


VA 258. Tue Breaxinc Up or tHe Acamemnon. Etching. 
: Harrington, No. 145. 
on . Signed on the plate, and in pencil,—‘“S. Haden.” Src- 
Q x OND STATE. 
a “With such a subject as this for a motive, an etcher will do manly 


work if the strength to do is in him. And this its manly work.”— 
p. G. HAMERTON. “Perhaps all things considered, the artist’s master- 
piece.” —ATHERTON CURTIS. 


[See Reproduction | 


[onsoyeyvo styy UL BGZ “ON 09g | 
‘NONWAWVOY DHL 40 dQ ONINVaUG AHI, 


CEL (ON ‘wopbursiv 
NAHGVH YWOOWAHS SIONVUA UIS 


Second Session, Tuesday Evening, January 30th 


4s HADEN, SIR FRANCIS SEYMOUR 


Qh t 254. A Bric at Ancuor. Etching. 

Harrington, No. 147. 
Signed on the plate,—‘‘Seymour Haden 1870.” The pen- 
cil signature is not genuine. 


A” 


HADEN, SIR FRANCIS SEYMOUR 


255. Carats Pier. Etching. 
< Harrington, No. 157. 
0 Etched after the painting by Turner. Signed in pencil,— 
ae “Seymour Haden.” Tuirp srate. AxBout 8 IMPRESSIONS. 
a “This superb etching stands alone in the history of art. The scene 
3 could not be more strongly felt nor more vividly presented, had 
the etcher been working from nature instead of a painting by another 
4 hand. When this etching appeared, Haden received an enthusiastic 
letter from John Ruskin, in which the latter exhorted him to devote 


A ’ the remainder of his life to etching the paintings of Turner.”— 
FREDERICK KEPPEL. 


HADEN, SIR FRANCIS SEYMOUR 


wy 256. Ye Comprteatr AncLER. Etching. 
ag fi Harrington, No. 166. 
Pf Etched in 1877. Signed on the plate, and in pence 
a: “Seymour Haden.” FINE IMPRESSION PRINTED ON JAPAN 
* PAPER. 


HADEN, SIR FRANCIS SEYMOUR 


257. InstpE THE Cork ConvENT, Cintra. Etching. 
Harrington, No. 195. 
1) Etched in 1877. Signed on the plate, and in pencil,— 
M/es/ “Seymour Haden.” First svat. 


HADEN, SIR FRANCIS SEYMOUR 


ae 258. Winpsor. Original etching. 
Harrington, No. 199. 


{ : Signed on the plate, and in pencil,—*F. Seymour Haden.” 
ey boo SECOND sTATE. 25 impressions. 
/ From the collection of Sir William Drake, the cataloguer 
/ of Haden’s etchings. 


Second Session, Tuesday Evening, January 30th 


HADEN, SIR FRANCIS SEYMOUR 


259 


. A Lancasnire River. Etching. 


Harrington, No. 215. 

Etched in 1881. Signed on the plate, and in pencil,— 
“Seymour Haden.” One hundred proofs only of this state. 
In Sir Seymour’s opinion this is one of his very finest 
plates. It was awarded the Medal of Honor at the Paris 
Exposition of 1889, and represents a well-known salmon 


pool on the Ribble. 


HADEN, SIR FRANCIS SEYMOUR 
260. Tue Turee Catves. Etching. 


Harrington, No. 222. 
Signed on the plate, and in pencil,—‘Seymour Haden.” 
First state. 


HADEN, SIR FRANCIS SEYMOUR 
261. Tue Txst at Lone Parisu. Etching. 


Harrington, No. 224. 
Signed on the plate, and in pencil,—‘“Seymour Haden.” 
ONLY STATE. 


HADEN, SIR FRANCIS SEYMOUR 
262. Earty Riser. Mezzotint. 


sO- 
S 


yo 


Harrington, No. 240. 
Signed on the plate, and in pencil,—‘‘Seymour Haden.” 
SUPERB IMPRESSION IN IMMACULATE CONDITION. PRoor 


PRINTED BY GovLpING, and so signed by him,—‘‘Fime 
proof, F. Goulding imp.” O¥ THE GREATEST RARITY. ONE 


OF THE MOST BEAUTIFUL PROOFS EVER PRINTED FROM THE 
PLATE. 


HADEN, SIR FRANCIS SEYMOUR 


262a. Mippieron (Caries Henry). Remarks on the Exhibition 


of the Etched Work of Rembrandt, at the Burlington 
Arts’ Club, in 1877. 8vo, wrappers. pp. 4. [An excerpt 
from the Royal Archaological Society Quarterly, January, 
1878.] [Also] 


Second Session, Tuesday EHvening, January 30th 


[ No. 262a—Continued | 


Haven (Srr Francis Seymour). The Etched Work of 
Rembrandt. A Monograph. Written as an Introduction 
to a Chronological Exhibition of Rembrandt’s Etchings,— 
being the first of its kind,—held at the Burlington Fine 
Arts Club, May, 1877. Royal 8vo, boards, uncut. 

London, 1879 | 


A reprint issued the same year as the first edition. [Also] 


Mippieton (CHartes Henry). A Reply to a Letter and a 
Pamphlet published by F. Seymour Haden, Esq., F.R.C.S. — 
under the title of “The Etched Work of Rembrandt.” 
Addressed to a Committee of the Burlington Arts Club. 
pp. 10. 8vo, stitched. London, 1879 


Laid in, is the “Letter” referred to, an excerpt from “The Athe- 
nacum,’ April 5, 1879). [Also] 

Haven (Sir Francis Stymovur). The Etched Work of 
Rembrandt; True and False. A Lecture. First Epirion. 
pp. 24. 8vo, original wrappers, uncut. London, 1895 
Together, 4 pieces, as a lot. 


HADEN, SIR FRANCIS SEYMOUR 


262b. Drake (Str Wirriam Ricwarn). A Descriptive Catalogue 
of the Etched Work of Francis Seymour Haden. First 
Enition. London, 1880. Harrincron (H. Nazzpsyr). 
A Supplement to Sir William Drake’s Catalogue of The 
Etched Work of Sir Francis Seymour Haden, P.R.E. 
First Eprrion. London, 1908. Together, 2 vols. royal 
8vo, original cloth. London, 1880-1908 


ADEN, SIR FRANCIS SEYMOUR 


262c. Harrincton (H. Nazesy). The Engraved Work of Sir 
Francis Seymour Haden, P.R.E. An illustrated and de- 

\ scriptive catalogue. With 109 plates containing repro- 
f ductions of 250 etchings. First Eprrton. Small folio. 
&  * original green morocco back, cloth sides, gilt top uncut. 
‘ Liverpool, 1910 


No. 48 of 75 copies printed and auroGrAPHED BY THE AUTHOR. ~ One 
of the most notable monographs of our time. 


Second Session, Tuesday Evening, January 30th 


OLIVER HALL 


Contemporary English etcher. Born in 1869; lived at London and 

Fittleworth. He received a Medal at the International Exhibit at Munich 

in 1896. 

“Mr. Oliver Hall, a young but distinctly interesting and strongly gifted 

etcher . . . his work has one characteristic more than another—though 

grace and freedom are its characteristics too—the one that is most its own 
x is the continual evidence his plates afford of his enjoyment of growth 
and building up.”—rrEDERICK WEDMORE. 


HALL, OLIVER 


263. A CumBerLAnp Pass. Etching. ‘a a 
Signed in pencil,—‘Oliver Hall.” Proor pRintED IN ~ d 
BROWN. 
7 
HALL, OLIVER ie 
264. Tue FresHentne Breeze. Etching. 
Signed in pencil,—‘‘Oliver Hall.” 
HALL, OLIVER | Wf 


~~ 


265. KirksTone Pass. Etching. 
Signed in pencil,—“Oliver Hall.” 


HALL, OLIVER ry ie , 
266. Ory Timser Jetty, Kine’s Lynne. Etching. K 
Signed in pencil,—‘“‘Oliver Hail.” 


PHILIP GILBERT HAMERTON 


English author and etcher. Born in 1834. 


HAMERTON, PHILIP GILBERT 


266a. Ercuine & Ercuers. Numerous reproductions of the work 
of Meryon, Haden, Whistler, Palmer, Rajon, Unger, and C) 


\ - others. Turrp Eprrion. Small folio, original half roan, Q) 
\ / gilt top, uncut. London, 1880 
% 


cb 
ayher 


Second Session, Tuesday Evening, January 30th 


CHILDE HASSAM 


Born at Boston in 1859, and studied art in Boston and Paris. He is one 
of the foremost painters and etchers in America. 


HASSAM, CHILDE 
267. Tue Sreps. Etching. 


, Zigrosser, No. 52. | 

( Etched in 1915. Signed on the plate and in pencil with 
aN ae the monogram. The steps of the old Holley House, at 
5 Cos Cob, Connecticut. 


; / 
2 § \ PIERRE EDMOND HEDOUIN 
French painter and engraver. Born at. Boulogne-sur-Mer in 1820; died 


at Paris in 1889. He achieved greatest fame for his reproductive etchings 
after Boucher, Millet and others. 


HEDOUIN, PIERRE EDMOND 


268. Inrerior, wirH Peasant Woman AnD Cuitp. Etching. 
Etched in 1876. Signed at the bottom of the plate,— 


rh “Edm. Hedouin.” 
f 
9 PAUL HELLEU 
\ Contemporary French draughtsman and etcher, living in Paris. 


“With M. Helleu, beauty—beauty of no conventional order, the rapid 
charm of movement, of expression, of contour—is the inspiring and satis- 
factory thing. He lives in its intimacy, and he reveals it.”—FrrEeDERICK 
WEDMORE. 


HELLEU, PAUL 
269. Porrrair or A Girt. Drypoint. 


yy | Signed in crayon on the margin,—‘Hellew.” Hrtiev 
+ published aLL HIS DRYPOINTS IN EXTREMELY LIMITED 
{ 
\e EDITIONS. 
nS 


“T can really give these drypoints no other title than to call them— 
Glimpses of the Grace of Woman.”’—ep. DE GONCOURT. 


HELLEU, PAUL 


270. Muir. X. Drypoint. 
Signed in pencil,—‘‘Helleu.”’ Sharp, clear impression, full 
of burr. Printed on Van Guelder paper. 
\\ 0 


! 


Second Session, Tuesday Evening, January 30th 


EARL HORTER 


American etcher. Born in Philadelphia in 1884. He has successfully 
caught the spirit of New York City in many of his etchings. 


HORTER, EARL 


S 271. Orv Gareway, Divan, France. Ktching. 
: Etched in 1916. Signed in penecil,—“E. Horter.”” Proor 
4 IN BROWN INK, ON PLATE PAPER. 


CHARLES H. HUARD 
Contemporary French etcher, living at Paris. 
HUARD, CHARLES H. 


272. Lz Vieux Port a Marsermutes. Etching. 
> Signed in pencil,—‘C, H. Huard.” Fine impression. 


HUARD, CHARLES H. 


273. Netcz A Bet Arr. Etching. 


Signed on the plate and in pencil,—“‘C. H. Huard.” 25 
/ PROOFS ONLY. 


PAUL HUET 


French etcher and painter. Born in 1804; died, 1869. He was a 
romantic and landscape painter allied to the group of men of 1830. 


HUET, PAUL 
274. Les CHaumibres. Etching. 


Delteil, No. 10. 
( Etched in 1838. Signed in upper left corner of plate,— 
“Paul Huet.” Serconp sTATeE. INDIA PROOF BEFORE 
LETTERS. 
HUET, PAUL 


275. Pres pE Fontainesitev. Etching. 
Delteil, No. 16. 
l Signed on the plate,—‘Paul Huet.” PRoor BEFORE ALL 
LETTERS. 


Second Session, Tuesday Evening, January 30th 


HUET, PAUL 


276. Maison DE GarpE A CompieGNnE. Etching. 
ik Delteil, No. 18. 
4 Signed in the margin with the stamp,—‘“Paul Huet.” 
( FINE IMPRESSION ON JAPAN PAPER. 
\ From the collection of Philippe Burty and Sir Wilham 
Drake. 


HUET, PAUL 


277. Les Bateneuses. Etching. 


fof Delteil, No. 34 


d | Signed with the stamp,—“Paul Huet.” InNpdIA PAPER 
proor, with full margins. 


' { 
fy JOSEF ISRAELS 


“Josef Israels was born at Groningen in 1824. At first he thought of © 
becoming a rabbi, due no doubt to his ever lofty and serious outlook on — 
life, but later he became attracted to art and studied under Kruseman 
of. Amsterdam and Delaroche of Paris. . . It was only later, in 1855, while 
recuperating at a sea-side resort, that he found his true medium of ex- 
pression—the delineation of intimate peasant life and the picturing of the 
infinitely suggestive country and coast of his native Holland. He died 
in 1911 at The Hague.” 


/ ISRAELS, JOSEF 


é / 278. Lirrte Jounny. Etching. 
: ( Hubert, No. 18. 
\\ Etched in 1875. Unsigned. 


ISRAELS, JOSEF 


279. Girt with Basket, SEATED ON THE SHorE. Etching. 
Hubert, No. 19. 


Unsigned. 
3 
z 
-y CHARLES JACQUE 
' French painter and etcher. Born at Paris in 1818; died at Barbizon in ~ 
1894. Jacque began his artistic career as a vignettiste. 
. “His original etchings did not begin to appear until about 1841 and from 


that time, for several decades, in Paris, and at intervals at Barbizon, he 
continued a prolific activity. At his best . . . Jacque is among the great 
etchers in the significance of his expression as a linealist.’—a. M. HIND. 


JACQUE, CHARLES 
| 280. Porte p’Unr CuHaumizre. Etching. 
ny, Guiffrey, No. 52. 
A, Signed in the lower margin of the place,—“Ch. Jacque.” — 
\ L0 


a 


JACQUE, 


281. 


JACQUE, 


282. 


JACQUE, 


283. 


JACQUE, 


284. 


JACQUE, 


285. 


JACQUE, 


286. 


JACQUE, 


287. 


Second Session, Tuesday Evening, January 30th 


CHARLES 
DEVANT DE Maisons. 
Guiffrey, No. 63. 


Signed on the lower right corner of the plate with the 
initials,—“*C. J.” 


Etching. 


CHARLES 

Paysace, CHAUMIERES. 
Guiffrey, No. 69. 
Signed in the lower margin,—“‘Ch. Jacque.” 


Etching. 


CHARLES 


Dervant La Matson. 
Guiffrey, No. 72. 
Signed on the plate and in the margin,x—“Ch. Jacque.” 


Etching. 


CHARLES 

Une Cour. Soft ground etching. 
Guiffrey, No. 75. 
Signed in upper right corner of plate,—“Ch. Jacque 
1845.” 'Tuirp state. 


CHARLES 

Paysace, LABOUREURS. 
Guiffrey, No. 79. 
Signed on the upper left corner of the plate,—“‘Ch. J. 
1845.” 


Etching. 


CHARLES 

Lr CuHemIn DE Hatrace. 
Guiffrey, No. 200. 
Signed on the plate, and in pencil,—*“Ch. Jacque.” First 
sTATE. PROOF SPECIALLY SIGNED BY JACQUE IN PENCIL. 
SUCH SIGNED PROOFS ARE EXTREMELY RARE. 


Etching. 


CHARLES 

L’Oracr. Etching. 
Undescribed by Guiffrey. 
Signed on the plate, and specially signed in pencil,—*Ch. 
Jacque.” FINE IMPRESSION ON INDIA PAPER. 


Second Session, Tuesday Evening, January 30th 


JACQUE, CHARLES 


288. Various Ercurines, as follows,— 
NS Le Vieux Marcuanp. Guiffrey, No. 214. Signed on the 
SY plate,—“Ch. Jacque.” 
/] VIEILLARD EN Priere. Guiffrey, No. 219. Signed on the plate, 
—‘Ch. Jacque.” First stare. 
Cuirronnier. Guiffrey, No. 224. Signed on the plate-—*“Ch. 
Jacque.” : 
Menpiants. Guiffrey, No. 233. Signed on the plate,— ‘Ch. 
Jacque.” 20 impressions only. 
( ; Buvevurs. Guiffrey, No. 234. 10 impressions only. 
as La Novrrice. Guiffrey, No. 243. 25 impressions only. 
Le Cavauier. Guiffrey, No. 248. 20 impressions only. 


Together, 7 pieces. 


JULES JACQUEMART 


Reproductive etcher. Born at Paris in 1837; died there-in 1880. He is 
renowned for his etchings of jewels and still life. 


/JACQUEMART, JULES 


269. Tue Sotprer AND THE Lavenine Girt. Etching. 
4é ( Beraldi, No. 268. 
| Etching after the painting by Vermeer. Signed on the 
plate, and in the margin,—‘‘Jules Jacquemart aqua fortis 
1866.” Proor stTaTE. FINE IMPRESSION WITH FULL 
\\ v MARGIN. 
/ 


“Rarely was a master’s subject or his method better interpreted 
than in this print.”—rrEDERICK WEDMORE. 


/ JACQUEMART, JULES 


| gf 290. Tue SoipreR AND THE Laventne Girt. Etching. 

| Etching after the painting by Vermeer. Signed on the 
plate, and in margin,—‘Jules Jacquemart acqua fortis 
1866.” FINE IMPRESSION, OF THE PROOF STATE; cut in- 
side the plate mark, thereby effacing the coat-of-arms. 


Second Session, Tuesday Evening, January 30th 


JACQUEMART, JULES 


291. Tripop. Etching. 
Signed on the plate,—‘‘Jules Jacquemart.” Proor BE- 
FORE LETTERS. FINE IMPRESSION. ONE OF THE ARTIST’S 


MASTERPIECES. | 
From the collection of Alfred Le Brun. 


GEORG JAHN 


Contemporary German painter and etcher. Born at Loschintz, near 
Dresden in 1859. Studied at the Dresden Academy. He is a member of 
the “Dresdener Kunst Genossenschaft.” 


JAHN, GEORG 


292. AuTscHLEsIscHEs MApcuen. Etching. 
Signed in pencil,—“‘Georg Jahn.” 


JOAN BARTHOLD JONGKIND 


Dutch painter and etcher. Born at Lattrop, in 1819. About 1846; went to 
Paris and studied at the atelier of Eugéne Isabey. He spent his time 
between France and Holland, and exhibited at the Salon. Died in 1891. 


JONGKIND, JOAN BARTHOLD 


293. Le Cuemin vE Harace. Etching. 

Delteil, No. 5. 
vy) Seconpd sTATE. AUTOGRAPH INSCRIPTION TO Henry Fon- 
pREY Paris Aprit 11, 1864. FrNe Impression. 


MAXIME LALANNE 


French etcher. Born in 1827; died in 1886 at Paris. 

“No one ever etched so gracefully as Maxime Lalanne. This merit of 
gracefulness is what chiefly distinguishes him. There have been etchers 
of greater power, of more striking originality but there has never been 
an etcher equal to him in a certain elegance from the earliest times till 
now.’—P. G. HAMERTON. 


LALANNE, MAXIME 


294. Tue Banks or tHE THames. Etching. 
Beraldi, No. 56. 
EARLY IMPRESSION. 
“Jolie petite piece dans le gout de Seymour Haden.”—serarot. 


VAs) 


Second Session, Tuesday Evening, January 30th 


LALANNE, MAXIME 


vA 295. Roven. Etching. 
/ Beraldi, No. 122. 
: Etched-in 1884. Signed on the lower left corner of the 
plate,—‘M. Lalanne.”’ 
d From the Lalanne collection. 


ALPHONSE LAMOTTE 


French engraver. Born in 1844, He was a pupil of Henriquel-Dupont. 


0 “ LAMOTTE, ALPHONSE 

Y 296. Vicrortr THERESE Aas Diana. Etching. 

I / Etching after Nattier. SicNED REMARQUE PROOF, ON 
JAPAN PAPER. Framed. 


AUGUSTE LANCON 
French etcher. Born at St. Claude, 1836; died in 1885. He lived in Lyons 
and Paris. 
/ LANCON, AUGUSTE 
/( 297. Tur Lion. Etching. : 
/ Y Etched in 1875. Signed on the lower margin,—4 
% s Lancon.” 


BENJAMIN LANDER 


American painter and etcher of the late 19th century. 


LANDER, BENJAMIN 


| [ 298. Lanpscare. Etching. 
Ly \ Etched in 1888. Signed on the plate, and in pencil,— 
“B. Lander.” Proor on JAPAN PAPER. Framed. 


GASTON DE LATENAY 


Contemporary French etcher; lived at Paris and Versailles. 


LATENAY, GASTON DE 


! 
y ( 299. La Cuaumizre. Etching. 
Signed in pencil,—G. de Latenay.” Impression No. 4, 
\ 9 oF 80 PROOFS PRINTED. 


Second Session, Tuesday Evening, January 30th 
Loo. SaaS SE RE A PR ee econ iS are ed 


ALPHONSE LEGROS 


Born at Dijon in 1837; died at London in 1911. 

“Legros loves that which is simple and permanent. He loves the soil and 
in humanity he loves those who are nearest to the soil. His sympathy 
is so great that it imbues the most material objects and gives a soul to 
sunny meadows, trees lost in the fog, valleys swept by storm, and the 
smoke rising from a burning hamlet. The keynotes of his work are sin- 
cerity, sympathy, and power.”—pavuL BURTY HAVILAND. 


LEGROS, ALPHONSE 


301. Tur Canat. Etching. 


Legros Catalogue, No. 178. 
Signed on the plate, and in pencil,—‘‘4. Legros.” arty 
PROOF, BEFORE THE NUMBERED EDITION. BEAUTIFUL IM- 


PRESSION, OF ONE OF THE ARTIST'S BEST PLATES. 


LEGROS, ALPHONSE 


( 
: - 


/ 


302. Listizre pe Bots. Etching. 


Legros Catalogue, No. 306. 

Signed in pencil,—‘4. Legros.” First srate. Brauti- 
FUL IMPRESSION, printed in bistre and retouched by the 
artist with a pen. 

From the Arthur collection. 


LEGROS, ALPHONSE 


Port pe Vuze. Etching. 

Legros Catalogue, No. 393. 

Signed in pencil,—‘‘A. Legros.”” BEAUTIFUL CLEAR IM- 
PRESSION. 


“Beauty and dignity of form, the passage of weather, the rustle 
of air-touched leafage, the gentle flow of some almost secret stream, 
and then the great lines of a wide stretching country, and a per- 
spective vast as that of Rembrandt’s Goldweigher’s Field,—these, and 
no local accuracy, but these understood with all a poet’s and great 
artist’s depth, make the charm, irresistible and lasting, of Legros’ 
etched landscape.”—FREDERICK WEDMORE. 


LEGROS, ALPHONSE 


Vv 


304. Paysacr. Drypoint. 


Legros Catalogue, No. 498. 

Signed in pencil,—‘4. Legros.” 25 proofs only. Firsr 
PROOF FROM THE PLATE. FINE RICH IMPRESSION, full of 
burr. 


Second Session, Tuesday Evening, January 30th 
Pe RENE eestor O a S 


GUSTAVE LEHEUTRE 


Contemporary French etcher. Born at Trozes in 1861; living at Paris. 
He is one of the most individual of contemporary etchers. Loys Delteil 
is at present engaged in making a catalogue of his work. 


LEHEUTRE, GUSTAVE 


305. Le Nouveau Pont A Laeny. Etching. 


/ 7 ie Catalogue, No. 43. 


Signed in pencil,—‘G. Leheutre.” SECOND STATE. 10 
2 PROOFS ONLY. PLATE DESTROYED. 


LEHEUTRE, GUSTAVE 


306. Les Borps pe LA Brestx. Drypoint. 
Catalogue, No. 59. 


ee, yd Signed in pencil,—‘G. Leheutre. No. 17 oF 20 PROOFS 
, as PRINTED. 

v 

. AUGUSTE LEPERE 


Contemporary French woodengraver and etcher. Born in 1849. 

“The etchings of Auguste Lepére possess, to perhaps a higher degree, than 
the etchings of any other living artist, that indefinable quality which we 
call charm. They form a real contribution to art, and one which nobody 
else in the world could have made—the contribution of his own per- 
sonality.”"—DAVID KEPPEL. 


LEPERE, AUGUSTE 


Le Be ie 307. Qual pe LA GarE—LE Desarpeur. Etching. 

‘Boe Lotz-Brissonneau, No. 93. 
ye Signed in pencil,—“‘4. Lepére.” First stare. 3 PROOFS 
en ONLY. 


LEPERE, AUGUSTE 


308. Le Pont Nevr. Original etching. 
Lotz-Brissonneau, No. 124. 
oe Signed in pencil—‘A. Lepére.” SECOND STATE. 30 
is PROOFS PRINTED OF THE SECOND STATE. 
; “Lepere joins to an admirable naiveté of emotion, a free and 
vibrant execution and an instinctive sense of simplification, and 
by the suppression of useless detail attains to the severe grandeur, 


to the style, in a word, which characterizes great works of art.”— 
HENRI VENER. 


/ 


Second Session, Tuesday Evening, January 30th 


JAN LIEVENS 


Dutch painter and etcher. Born at Leydon, in 1607; died in Antwerp 
about 1672. He studied under Lastman who was also Rembrandt’s teacher. 
His etchings show the influence of Rembrandt. 


LIEVENS, JAN 


309. Heap or an Oty Man, Turnep Tro Ricut. Etching. 
Probably Dutuit supplement—‘Pieces attributed wholly 
or in part to Lievens,” article six. 

From the collection of Pierre Mariette 1681. 


O DONALD SHAW MacLAUGHLAN 


Contemporary American etcher. Born in Canada in 1876; living abroad. 
“T know of no modern etcher who has ‘arrived’ (in the best critical sense) 
more rapidly than Donald Shaw MacLaughlan. In 1900 this young Canadian, 
of Scottish ancestry, who had studied painting in Boston, was making his 
first experiments on the copper under the spell of ‘Old Paris.’ But already, 
only eleven years after his modest debuts, A. M. Hind has called him one 
of the few etchers of today whose architectural and landscape etchings are 
comparable in a sense of style, with those of Cameron and Bone, betraying 
the same touch of the artist of conviction.”—cIlEVELAND PALMER, in his 
“Print Collection Quarterly.” 


/MacLAUGHLAN, DONALD SHAW 


310. La Rut Murrerarp. Etching. 
Etched in 1900. Signed in pencil at the top,—‘D. S. 
MacLaughlan.” Fixe mprression. Rare. 


MacLAUGHLAN, DONALD SHAW 


311. La Porre Gayore, BouLoeneE-sur-MER. Etching. 
Etched in 1902. Signed on the plate, and in pencil,— 
“D. Shaw MacLaughlan.” 


MacLAUGHLAN, DONALD SHAW 


312. Irarian Roapsipe, Srena. Etching. 
Etched in 1905. Signed in pencil,—‘D. S. MacLaugh- 


Be) 


lan. 


MacLAUGHLAN, DONALD SHAW 


313. Lynron,; Encianp. Etching. 
Etched in 1906. Signed on the plate, and in pencil,— 
“D. S. MacLaughlan.” 


Second Session, Tuesday Evening, January 30th 


MacLAUGHLAN, DONALD SHAW 
314. Ferme Aux Vacues, Brirrany. Etching. 
Etched in 1906. Signed on the plate, and in. pencil,— 
“D. S. MacLaughlan.” 


MacLAUGHLAN, DONALD SHAW 
>, 85. CoppersMITHs. Etching. 
Signed in pencil,—‘D. Shaw MacLaughlan.” Frye 1n- 


yA 
re J 
se ee PRESSION ON JAPAN PAPER, THE ARTIST'S PERSONAL PROOF. 


y 


ns 
ONLY TWELVE PROOFS PRINTED. 


MacLAUGHLAN, DONALD SHAW 


ra 316. Parma. Etching. 
Ae. Signed in pencil,—*D. S. MacLaughlan.” 


, eee, DONALD SHAW 


AO 317. Quart DE L’HoTet vE Vite, Paris. Etching. 


LG Signed in pencil,—“D. Shaw MacLaughlan.” Rare. 
t 
MacLAUGHLAN, DONALD SHAW 
, [ 318. Sarmnt Séverty. Etching. 
\ Signed in pencil,—‘D. Shaw MacLaughlan.” SEconp 


| ™ STATE. 


FRANCOIS MARECHAL 
Contemporary Belpian etcher. Was living at Liége. 
MARECHAL, FRANCOIS 
319. L’Averse, Bois pE Breux, Etching. 
/ / Signed on the plate, and with the monogram in red crayon, 
Sa —‘F.M.” 


ANTOINE MASSON 


French portrait engraver. Born at Louvry near Orleans in 1636; died at 
Paris in 1700. 


MASSON, ANTOINE 
320. Mapame Hetryor. Line-engraving. 
; f f Robert-Dumesnil, No. 36. 
bAy 7 Signed on the plate,—*Ant. Masson sculpt. 1683.” 


Second Session, Tuesday Evening, January 30th 


MASSON, ANTOINE 


$21. PEREFIXE DE Beaumont. Laine-engraving. 
Robert-Dumesnil, No. 61. 


Signed on the plate,—‘Ant. Masson sculpebat 1664.” 
First STATE, BEFORE LETTERS. FINE IMPRESSION. 


THEODOR MATHAM 


Dutch engraver. Born at Haarlem in 1569; second son and pupil of 
Jacob Matham. He travelled in Italy and settled down in Holland where 
he engraved many portraits; died about 1677. 


MATHAM, THEODOR 
322. Renier Pauw. Line-engraving. 
/ Engraved after the painting by Mytens. Signed on the 
wy plate-—‘Th. Matham Sculpsit.” SPLENDID IMPRESSION. 
(Br 


A few minor printer’s folds. 


ARMAND MATHEY-DORET 
Contemporary French reproductive etcher. Born at Besancon in —i854. 
He was a pupil of Waltner. 
MATHEY-DORET, ARMAND 


323. Cuartes THE First. Etching. 
After Van Dyck. Arrist siGNED Proor. Framed. 


CHARLES MAURIN 


Contemporary French etcher. 


MAURIN, CHARLES 


324. La VacuEre. Woodcut. 

Signed on the block with the imitials, and in pencil,— 
“Maurin.” A small tear in the woman’s dress; another 
iY slight one mended, in the margin. 


Second Session, Tuesday Evening, January 30th 


CLAUDE MELLAN 


French painter and engraver. Born at Abbeville in 1598; died at Paris 
in 1688. Pupil of Villamena in Rome. His works enjoyed an immense 
vogue in his time, but later his fame went into eclipse. He is just beginning 
to be appreciated at his true worth today. He influenced among others, 
the celebrated engraver Robert Nanteuil. 


MELLAN, CLAUDE 


325. Sr. Perer Noxasaur. Line-engraving. 


4) Montaiglon, No. 90. 
Fe ae a Signed on the plate,—‘“Cl. Mellan Gall. inven. et {> chine 
ot ag Ga PROOF. 


From the collections of Pierre Mariette, A. Donnadieu, 

and H. Denfer-Dumesnil. 

“St. Peter Nolasque, in extreme feebleness, is borne by 

o-” Angels to receive the Communion.” 

La, THIs Is ONE OF THE RAREST OF MELLAN’s works. It was 
designed and engraved at Rome in 1628. <A few proofs 
were taken there and the plate was sent to Paris via 
Leghorn. The ship carrying the plate was wrecked and 
the plate was lost with it. . 


MORTIMER MENPES 


Contemporary English etcher. Born in Australia in 1860; living in London. 
“He has economy of means, and yet abundance of resource. He is not 
merely a draughtsman who has chosen to etch; he is an etcher whose feeling 
for the capacity of his patricular medium has in it much that is in- 
stinctive.”—FREDERICK WEDMORE. 


MENPES, MORTIMER 


be 3 
4 : 
iy 326. WuisTLeR. Drypoint. 
0 Signed in pencil,—‘Mortimer Menpes imp.” Fine 1n- 
\ pression. A racy portrait of Whistler, by his pupil, 


Menpes. 


MENPES, MORTIMER 


| 327. Durcu Eex Scuvuyts. Etching. 
| / Signed on the plate, and in pencil,—“Menpes imp.” 


Second Session, Tuesday Evening, January 30th 


CHARLES MERYON 


Celebrated French etcher. Born in Paris in 1821; died there in 1868. 
“But we must turn now to a great poet-etcher, one of the greatest masters 
that the copper-plate has ever known and one of the most tragic and piteous 
figures in the history of art. When Charles Meryon after his sea-wan- 
derings and his failure as a painter, found his true vocation with needle 
and mordaunt, his strange weird genius, haunted by the mysterious beauty 
that the centuries had stamped upon Paris, expressed itself through an 
artistic record of her old buildings that was soundly while imaginatively 
picturesque, yet personally reflective to an extraordinary degree.”—MaLcoLm 
SALAMAN. 


MERYON, CHARLES 


328. Rue vE LA TIxERANDERIE. Etching. 
Delteil, No. 29. 
/ Signed on the plate with the initials,x—“C. M.” Srconp 


4 STATE WITH THE INITIALS. VERY FINE AND RARE. 
[See Reproduction | 
MERYON, CHARLES 
Us 329. Azsipe pE Notre Dame. Etching. 
2 ; Delteil, No. 33. 


Etched in 1854. Signed on the plate,—“C. Meryon del. 
sculp.” Fourtu state, with the name, date and address. 
BEAUTIFUL IMPRESSION, IN PERFECT CONDITION, OF THE 
GREATEST RARITY. 


MERYON, CHARLES 
380. Le Pont av Cuance. Etching. 
Delteil, No. 34. 
Etched in 1854. Signed on the plate-—“C. Meryon del. 
7 sculp.” Firru stare, with the name and address, and 
bye Vo before the change in the carriage on the bridge. Braurti- 
fp ee FUL IMPRESSION, IN PERFECT CONDITION, OF THE GREATEST 
V) RARITY. 
0 From the collection of Delatre, and so signed by him in 
pencil,—‘tire par moi chez mon ami Meryon Aug. 
Delatre.”’ 


MERYON, CHARLES 


331. Cottece Henri Quarre. Etching. 
Delteil, No. 43. 
Sixty starr. With the address, but before complete title. 
From the collection of Alfred Morrison. 


h 


MERYON 


HARLES 
pote eee A 


C 
[See No. 3 


No. 29 


’ 


al 


—Delte 
is catalogue | 


NDERIE. 


XERA 


E D 


Ru 


in th 


28 


Second Session, Tuesday Evening, January 30th 


MERYON, CHARLES 


332. AncIENNE Hazirarion A Bounces. Etching. 
Delteil, No. 56. 


/ Signed on the lower left corner of the plate with the 
initials,—‘“‘C. M.”’ 


BF 
JEAN FRANCOIS MILLET 


French painter and etcher. Born, 1815; died, 1875. 


MILLET, JEAN FRANCOIS 


333. Prasanrs Diccinc. Etching. 
Delteil, No. 13. 
Proor printed by Delatre, and so signed by him in pencil,— 
“superb ep. tire par mot Aug. Delatre.” SPLENDID EARLY 


be IMPRESSION ON JAPAN PAPER, with full margin. Rare. 


“Brute matter, the earth rises out of the frame-work, alive and 
exuberant. We feel it thick and heavy; through its clods and grasses 
we feel it running deep and full. We breathe the scent of it, we 
could crumble it between our fingers. In most landscape paintings the 
soil is superficial; in Millet it is deep.”—s. kK. HUYSMANS. 


< 


LOUIS MONZIES 


Contemporary French etcher. Born at Montauban in 1849. Lives at 
Paris. 


MONZIES, LOUIS 


334. Rue pe Vittace. Etching. 
Signed in pencil,—“L. Monztes.” 


y JEAN MORIN 


French engraver. Born at Paris about 1590; died there 1650. He began 
his career as a painter but later took to engraving. He studied first under 
Philippe de Champaigne after whom many of his plates are engraved. He 
is one of the most original of the French portrait engravers. 


MORIN, JEAN 


335. Ropert Arnavutp. Line-engraving. 
Robert-Dumesnil, No. 42. 
ava Engraved after the painting by Champaigne. Signed on 
the plate,—‘“T Morin seul.” Very scaARCE. 


(Y 


Second Session, Tuesday Evening, January 30th 
taashin etat iii See SSS Pe 


ROBERT NANTEUIL 


Celebrated French engraver. Born at Reims in 1630; died at Paris, 1678. 
He studied with Nicolas Regnesson of that city. In 1647 about the age 
of seventeen, Nanteuil married his master’s sister, and the following year 
saw him in Paris where he exhibited work showing the influence both of 
Jean Morin and Claude Mellan. He soon formed, however, his own dis- 
tinct style, with which he was to delineate the flower of the French no- 
bility and intellect of his time. His style is powerful and original, and 
has no superior in the art of portrait engraving. 


oo NANTEUIL, ROBERT 


336. MicHEL AMELOT. Line-engraving. 

Robert-Dumesnil, No. 21. 
ea Signed on the plate,—‘‘Nanteuil ad vivum faciebat C P R 
\y 


1675.” VERY FINE AND EXTREMELY RARE. 


NANTEUIL, ROBERT 


337. Perrus pu Campout ve Corstix. Line-engraving. 
Robert-Dumesnil, No. 70. ; 
~ Signed on the plate,-—‘R. Nanteuil ad vivwm pinge at — 
sculpebat 1666.” First sTATE BEFORE THE PASTORAL 3 
CROss. SPLENDID IMPRESSION IN PERFECT CONDITION. ONE — 
OF THE MOST BEAUTIFUL OF NANTEUIL’S PLATES. | 4 


One of the four etchings regarding which L. R. Metcalfe writes,— — 

“These four engraved portraits are masterpieces of characteriza-— 
tion and exhibit in the most eloquent way the master’s powerful — 
draughtsmanship, his utter lack of mannerisms, and the sympathetic 
way in which he varied his entire technical treatment to suit dif- 
ferent subjects. Here is abundant proof that he was primarily a 
portrait-maker—he is a psychologist who consistently strove to brand 
his model’s soul on his countenance. Of no other ‘peintre-graveur’ 
can we say as much.”—1. R. METCALF. 


[See Reproduction] 


NANTEUIL, ROBERT 


338. Micner te Teviter. Line-engraving. 


qT v4) MZ Robert-Dumesnil, No. 128. 
ee Engraved after the painting by Champaign. Signed on ~ 
{ the plate,—“Rob. Nanteuil sculpebat.” SECOND STATE. 
“\ SPLENDID IMPRESSION WITH MARGIN. IN PERFECT CONDI- 
TION. 


From the collection of John Young. 


Oa aa 


ZA | 
Wa 


ROBERT NANTEUIL 
Perrus pu Campout pE Corstix.—Robert-Dumesnil, No. 70 


[See No. 387 in this catalogue | 


eo 


Second Session, Tuesday Evening, January 30th 


NANTEUIL, ROBERT 


339. Pierre pe Maripar. Line-engraving. 


Robert-Dumesnil, No. 168. 
Signed in the inscription on the margin. 
“Jolie piéce.’’—Robert-Dumesnil. 


NANTEUIL, ROBERT 


340. Micuer pe Maroutes, Aspor or ViniELoin. Line-engraving. 


Robert-Dumesnil, No. 171. 

Signed on the plate,—‘Nanteuil ad vivum faciebat 1657.” 
First sTATE BEFORE THE TWO PARALLEL LINES. A PoR- 
TRAIT OF THE CELEBRATED PRINT COLLECTOR. 


NANTEUIL, ROBERT 


341. Girtes Ménace. Original line-engraving. 


Robert-Dumesnil, No. 188. 
Executed from life in 1652. Signed on the lower margin, 
— “Rob. Nanteuil.” First stTATE BEFORE THE PLATE WAS 


REDUCED. 
“‘Beau,’’—Robert-Dumesnil. 


NANTEUIL, ROBERT 


342. Henri pe Lorraine, Mareuis p—E Mony. Line-engraving. 


Robert-Dumesnil, No. 197. 
Signed on the plate-—‘R. Nanteuil cum privilegio Sculpe- 
bat.” First stATE BEFORE THE NAME. FINE. 


NANTEUIL, ROBERT 


343. Francors Turoporr pE Nesmonp. Line-engraving. 


Robert-Dumesnil, No. 201. 
Signed on the plate,—“R. Nanteudl ad viewm faciebat 
1653.” ON Ly sTATE. 


Duplicate from the old Bibliothéque Royale, Paris. 


NANTEUIL, ROBERT 


244. FERDINAND DE NeEvFvILLE, BisHop oF Cuarrres. Line- 


engraving. 
Robert-Dumesnil, No. 203. 
Engraved after the painting by Champaigne. Signed 
on the plate,—‘‘Nanteuil sculpebat 1637.” SrconpD sTATE 
BEFORE THE DATE WAS CHANGED TO 1658. FINeE. 


Second Session, Tuesday Evening, January 30th 


NANTEUIL, ROBERT 


345. Harpovuin pe P&éririxe pE Beaumont. Laine-engraving. 
Robert-Dumesnil, No. 211. 
Signed on the plate,—‘‘Nanteuil ad vivum f. 1662.” First 
STATE WITH INscRIPTION. This plate shows the influence 
of Mellan’s technique on Nanteuil. 


NANTEUIL, ROBERT 


/ 346. Harpovin pE Prérftrixt pE Beaumont. Laine-engraving. 
Robert-Dumesnil, No. 214. 

+ Signed on the plate-—‘R. Nanteuil ad vivuwm Pingebat 
Sculpebat.” First sTATE BEFORE THE CHANGE OF DATE 
aL y To 1668. SPLENDID IMPRESSION IN PERFECT CONDITION. 

: The subject of this engraving was the son of the Maitre 
OS d’Hotel of Cardinal Richelieu. He distinguished himself 
in his studies and was received as a Doctor of the Sor- 
~ bonne. He became preceptor to Louis XIV, being at that 

time also bishop of Rhodes. Some years later he became 


archbishop of Paris. He died in 1670. 


NANTEUIL, ROBERT 
347. CraupeE Recnauupin. Line-engraving. 
Robert-Dumesnil, No. 216. 
VeRY EARLY sTATE, before inscription, but with an erasure 
on the left of the console. BriLLIANT IMPRESSION. 


/ 
f 7 
(y 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS COLLECTORS 


AND OWNERS HEREINBEFORE DESIGNATED 


Third Session, Numbers 348 to 510, inclusive 


WEDNESDAY EVENING, JANUARY 3lst, AT 8:15 O’CLOCK 


PALMER, 
348. 


PALMER, 
349. 


SAMUEL PALMER 


English watercolor painter and etcher. Born in 1805; died at Reigate in 
1881. He early showed a taste for art and at the age of fourteen, exhi- 
bited several landscapes at the British Institute. By the advice of his 
father-in-law, John Sinnell, he underwent a course of figure drawing at 
the British Museum, during which time he was introduced to William 
Blake. 

“His romantic idealism not unworthily carried on the sentiment which 
inspired much of Blake and all of Calvert.’—a. m. wINp. 


SAMUEL 


Tue Ristxe Moon. Etching. 
Hardie, No. 7. 
Signed on the margin,—*‘Samuel Palmer.”’ 


SAMUEL 
Tue Earty Provcuman. Etching. 
Hardie, No. 9. 


Signed in pencil,—**§. Palmer.”” Ear Ly PUBLISHED STATE. 


STEPHEN PARRISH 


American etcher. Born, Philadelphia, 1846. He made his first etching 
in 1879 and has since exhibited in New York, Philadelphia, Vienna and 
Dresden. He is a member of the “Royal Society of Painter-Etchers,” 
London. 


PARRISH, STEPHEN 


350. 


An Acapian Inn Yarp. Etching. 
Parrish, No. 7. 
Signed on the plate, and in pencil,—“‘Stephen Parrish.” 


oe 


Third Session, Wednesday Evening, January 31st 
Se neh ee POR Sa asl RO eS 


PARRISH, STEPHEN 


351. In Cornwauuis Vatiey. Etching. 
Parrish, No. 72. 
Signed on the plate, and in pencil,—“Stephen Parrish. 


xs 


JOSEPH PENNELL 


Celebrated American illustrator and etcher. Born in Philadelphia, 1860. 
As a pupil in the Pennsylvania Academy of Fine Arts his unusual ability 
in etching was early recognized. He has won honourable mention and 


medals at Philadelphia, Chicago, Paris, and elsewhere. 


PENNELL, JOSEPH 
352. Betow Aruantic Crry. Etching. 
’ Signed on the plate, and in pencil,—‘*Joseph Pennell.” 


ear 
\' ¥ 


RODOLPHE PIGUET 


French-Swiss painter and etcher. Born at Geneva in 1840; living in 
Paris. He received the gold medal for etching at the Paris Exposition 


in 1900. 


PIGUET, RODOLPHE 


3583. Lanpscapr. Original etching. 


aie Signed on the plate, and in pencil,—Rodolphe Piguet.” 
0 
\ GIOVANNI BATTISTA PIRANESI 
Italian architectural etcher. Born at Venice in 1720; died at Rome 
in 1778. 


“Bducated as an architect, Piranesi devoted himself almost entirely to 
engraving the great monuments of Rome, of antiquity and the Renaissance, 
achieving a work of enormous magnitude, a triumph of diligence dis- 
tinguished by real genius.”—a. M. HIND. 


PIRANESI, GIOVANNI BATTISTA 
354. Ture Aquapucr or Nero. Etching. 
m ub Re, Signed on the lower margin,—‘‘Cavalier Piranesi F.” 
FINE IMPRESSION OF THE First Epirion. 


[V 


\ 
\ 
\ 


Third Session, Wednesday Evening, January, 31st 


CHARLES A. PLATT 


Contemporary American painter, etcher, and architect. Born at New 
York in 1861. One of the foremost landscape architects in America. 
Member of the “National Academy” and of the “National Institute of 
Arts and Letters.” 


PLATT, CHARLES A. 


355. .THEe Lirrte River Harrrorp. Etching. 
7 Rice, No. 18. 
Etched in 1881. Signed on the lower left corner of the 
piate,— C. A. Platt.” 


PLATT, CHARLES A. 


356. Fisoine Boats. Etching. 

ig’ Rice, No. 23. 

Signed on the lower left corner of the plate,—“C. A. 
Platt.” SEcOND sTATE. 


PLATT, CHARLES A. 


357. A Winpmityt. Etching. 
ty Rice, No, 54. 
Etched in 18&4. Signed on the plate, and in pencil,— 
ee Ae Piatt.” 


PLATT, CHARLES A. 


358. A Brirrany Farm. Drypoint. 
es Rice, No. 55. 
Etched in 1883. Signed on the plate, and in ink,— 
“Charles A. Platt.” 


PLATT, CHARLES A. 


359. DEVENTER. Etching. 
Ly Rice, No. 68a. 
\ \ Signed on the plate, and in pencil,—“C. A. Platt.” 


. 


PLATT, CHARLES A. 
360. Brooxtyn Briner. Etching. 
oy Rice, No. 98. 
2 Etched in 1888. Signed on the plate, and in pencil,— 
pi A, Platt’: 


Third Session, Wednesday Evening, January 31st 


PLATT, CHARLES A. 


361. Sprinc Fioops on THE CHaRLEs. Drypoint. 


0 UnpeEscriBED BY RIcE. 
\o4 Signed in pencil,—‘‘C. A. Platt.” 
DQ 
\ 
PAUL POTTER 
“Paul Potter, born at Enkhuizen 1625, died at Amsterdam, 1654, is quite 
the foremost etcher of animal pieces, just as he is the first among all 
animal painters. In his 18 existing plates we are charmed, as in his 
paintings, by the sureness and sharpness of the drawing, by the cer- 
tainty and power with which he pictures animal forms and fine grada- 
tions of tone in landscape.”—Fr. LIPPMANN, 
POTTER, PAUL 
362. Vur v’Une Pratriz. Etching. 
oY 4 Bartsch, No. 14. 
\o4 Signed on the lower left corner of the plate,—‘Paulus 
Potter, In et F. 1649.” This was Potter’s first etching 
done when he was 18 years old. 
\° PAUL RAJON 
: French etcher. Born at Dijon in 1843; died at Paris in 1888. Bracque- 
mond instructed him in the etcher’s craft. He was a brilliant repro- 
ductive and portrait-etcher. 
RAJON, PAUL 
363. Portrair or Miss Parmer. Etching. 
( nM Signed on the plate, and in pencil,—‘P. Rajon.” Etched 
\ after the painting by Sir Joshua Reynolds. 100 Proors 


\ PUBLISHED. 
> 


JACQUES REICH 


Contemporary American reproductive etcher and portraitist; living at New- 
dorp, New York. : 


REICH, JACQUES 
/ 364. Wuistier. Etching. 


© Etching after the painting by Boldini. SicNep artist's 


Lie, bh ‘ 
u ee PROOF, WITH REMARQUE. Proof, number 3 of 50 printed. 


“ 


Third Session, Wednesday Evening, January, 31st 


REMBRANDT VAN RIJN 


Celebrated Dutch painter and etcher. Born at Seyden in 1607; died at 
yeaa in 1669. Pupil of Swanenburch and Lastman, but largely self- 
taught. 

“The opinion among etchers which enthrones Rembrandt as King of his 
craft is the most recent instance of perfect unanimity among people of 
all nationalities. As we all say that Phidias was the greatest sculptor, 
Homer the greatest epic poet, and Shakespeare, the greatest dramatist, so 
we are all agreed on the world wide supremacy of Rembrandt. In his 
own lines of work there is no one in all history to be compared with Rem- 
brandt.”—». G. HAMERTON. 

“The whole of Rembrandt is in his engraving—his mind, tendencies, 
imagination, reverie, good sense, chimeras, difficulties of rendering the 
impossible, realities in nothingness. It is the same craftsmanship, the same 
set purpose, the same carelessness and insistence, the same strangeness of 
style, the same desperate and sudden success achieved by expression.”— 
EUGENE FROMENTIN. 


REMBRANDT VAN RIJN 


/ 
\ 
2 


8 


365. 


“0° 


REMBRANDT AND Saskia. Etching. 


Bartsch, No. 19; Hind., No. 144. 


¢ Signed in the upper left corner of the plate,—‘‘Rembrandt 


f, 1636.” First srare with the slipped stroke. Frye mm- 
PRESSION WITH MARGIN COMPLETE. 
From the collection of Pierre Mariette. 


REMBRANDT VAN RIJN 


366. 


Apranam Caressine Isaac. Etching. 


Bartsch, No. 33. Hind, No. 148. 


/ 
ly : Signed on the lower left corner of the plate,—“‘Rembrandt 


F.” First sTaTE BEFORE THE SLIPPED STROKE ABOVE 
Isaac’s SHOULDER. 
Duplicate from the University of Cambridge Collection. 


REMBRANDT VAN RIJN 


367. 


(0- 


Tue Vision or Ezexrer. Etching. 


r7 Bartsch, No. 36. Hind, No. 284. 


Signed and dated on the plate,—‘Rembrandt 1655.” 

This and three similar plates were designed for a book 
in Spanish, ‘Piedra gloriosa o de lor estatua de Nebuchad- 
nesar,” Amsterdam, 1655, by Rembrandt’s friend, Samuel 
Menasseh Ben Israel. Copies of the book containing the 
original plates are excessively rare. 


Third Session, Wednesday Evening, January 31st 
Sean Ss pe seer cg ne nr Sea toa Ed lee oT 


REMBRANDT VAN RIJN 


368. Josep Retatinc His Dream. Etching. 

60.8" Bartsch, No. 37. Hand, No. 160. 
ma Signed on the plate,—‘Rembrandt f 1638.” Srconp 
b state (Hind) with curtain still lght. 


REMBRANDT VAN RIJN 


369. Lion Hunt. Etching. 


yy Bartsch, No. 115. Hund, No. 180. 


4 he Etched about 1641. Fre IMPRESSION. 
o The influence of Rubens is to a certain extent visible in the 
ie three etchings of lion hunts which Rembrandt made. 


REMBRANDT VAN RIJN 


370. Two Peasants Travetiine. Etching. 
2 -°° Bartsch, No. 144. Hind, No. 116. 
: \° Etched about 1637. Onty sTATE. 


REMBRANDT VAN RIJN 


¥ 


Ss Etching. 
\% Bartsch, No. 151. Hind, No. 14. 
iO Etched about 1630. Signed in the upper right corner of 
: the plate with the initials in reverse, before the retouch. 
From the collection of Henri Sec des Tournelles. 


371. Orv Maw wirn a SuHorr Bearp, Restine Acainst a Banx. 


REMBRANDT VAN RIJN 


372. View or AmsterDAM. Etching. 
ve Bartsch, No. 210. Hund, No. 176. 
1 0. Copy of the original etching, probably by J. Bretherton. 
Lower left corner slightly mended. 


REMBRANDT VAN RIJN 
373. Jan Corneuis Syivius. Etching. 


aioe é Bartsch, No. 266. Hind, No. 111. 
at v, Signed on the left side of the plate,—“Rembrandt ft 1634.” 
\ \ 0 FINE IMPRESSION. 


From the collection of Theodore Roussell. 


Third Session, Wednesday Evening, January, 31st 


REMBRANDT VAN RIJN 


374, Jan Cornelis Syivivs. Etching. 
l,O # Bartsch, No. 266. Hind, No. 111. 

Signed on the plate,—“Rembrandt ft. 1634.” 
Several thin places in the margin. 


FINE IM- 
PRESSION. Framed. 


REMBRANDT VAN RIJN 
375. Busr oF AN Otp Man witrn Friowine Brarp ann WHITE 


yo SueEve. Etching. 
by ” Bartsch, No. 291. Hind, No. 26. 
2 Etched about 1680. OwNty sTATE. 


REMBRANDT VAN RIJN 
376. Man 1x a Broap Brimmep Har anp Rverr. 
3 Bartsch, No. 311. Hund, No. 158. 
ed Onxty state (Hind). Impression cut, trimming off the 


monogram RF. f. 1630. 


Etching. 


PAUL RENOUARD 


Contemporary French etcher. Born, 1845; living at Paris. His ani- 


mal studies are well known. 


RENOUARD, PAUL 


377. Lions. Etching. 
i Signed in pencil,—‘P. Renouard.” 20 PROOFS ONLY. 
Ss 


THEODULE RIBOT 


French painter and etcher. Born, 1823; died 1891. 
delineations of Parisian cooks and_ scullions. 


Famous for his 


RIBOT, THEODULE 


378. La Cortr. Etching. 
Beraldi, page 196. 
F Signed on the plate-—“Th. Ribot 8.” One of the set of 


|? 
“Scenes Culinaires.” 


Third Session, Wednesday Evening, January 31st 


GRAADT VAN ROGGEN 


Contemporary Dutch etcher. 


ROGGEN, GRAADT VAN 


379. Durcu Courryarp. Etching. 

7 Signed in pencil,—Graadt van Roggen.” Printed by the 
VA artist. Proor. Number 13, of 25 impressions printed. 
" 


ERNEST D. ROTH 


Contemporary American painter and etcher. Born in 1879. 


ROTH, ERNEST D. 


380. Aspazzia, San Grecorio, VENICE. Etching. 
ty Etched in 1905. Signed on the plate, and in pencil,— 
IA “Ernest D. Roth.’ PRroor on JAPAN PAPER. 


vy 
10 THEODORE ROUSSEAU 


<<. French painter and etcher. Born at Paris in 1812; died at Barbizon in 


1867. 
“With Corot, Daubigny, Dupré and Diaz, he founded the modern French 


school of landscape painting. Few, if any, have surpassed him in the 
rendering of atmospheric effects, in the ability to diffuse light and air 
throughout a landscape, and in the power of communicating to others the 
deep feelings excited by Nature in a highly sensitive organization like 


his own.’—FREDERICK KEPPEL. 


ROUSSEAU, THEODORE 


381. Un Sire pu Berry. Etching. 
Delteil, No. 2. 


gO 

E aX ONLY STATE. VERY FINE IMPRESSION. 

/\) ray From the collection of Alfred Le Brun. 
J 


) “Fauforte demeurée inédite, tirée & peu d’épreuves. Cuivre 
détruit.”—pELTEIL. 


TH. RALLI SCARAMANGA 


Contemporary Italian etcher. 


SCARAMANGA, TH. RALLI 
y 382. Viertte Rue A Marticues. Soft ground etching. 
\\ y Signed in pencil,—‘7’. Rallt Scaramanga.’ 
staTE. No. 5 or 26 IMPRESSIONS PRINTED. 


j 


’ 


FourtTH 


Third Session, Wednesday Evening, January, 31st 


HANS SCHAUFFLEIN 


Eminent German painter and wood-engraver. Born at Niirnberg in 1490; 
died there in 1540. He was a pupil of Albrecht Diirer and drew the 
illustrations to the “Theuerdank” of the Emperor Maximilian. He also 
made twenty designs for the “Hochzeits Tanz.” In 1515 he was made a 
“burgher” of the town of Nordlingen. 


SCHAUFFLEIN, HANS 


383. THE Passion or JEsus Curist. Woodcuts. 
/ Bartsch, No. 34. 
ND: Thirty-six woodcuts. 
The set of thirty-five blocks first appeared in an edition 
ye of “Speculum domini nostu,” etc. Niirnberg, 1507. <A 
f / second edition appeared in 1519, with a different block in 
/ place of the one of “Christ crucified between the two 
‘| s thieves.” This set contains the cuts of both the first and 
second editions. 
CoMPLETE SETS OF THIS WORK ARE DIFFICULT TO FIND. 


SCHAUFFLEIN, HANS 


384. THe Passion or JEsus Curist. Woodcuts. 
‘ Bartsch, No. 34. 
* The subjects are,—Christ taken by the Jews; Christ 
B® Mocked; Christ on the Cross; Christ Revealing Himself 
to Mary. ‘Together, 5 pieces. 


SCHAUFFLEIN, HANS 


385. Evancetium Epister. Mir AnHANG DER Mess, PsaLmM unp 
(0, Coutecten. Woodcuts. 
J Passavant, No. 1388. 
Augsburg, Schonsperger, 1513. Together, 5 pieces. 
0 All but one of these were signed on the original blocks, 
wit hthe initials,—‘“‘H. S.’? and the mark of the shovel. An 
attempt at coloring the impressions has been made by some 


late hand. 


ALEXANDER SCHILLING 


Contemporary American etcher. 


SCHILLING, ALEXANDER 


386. Lanpscare AFTER Rain. Etching. 
te, Signed in pencil,—‘‘Alevander Schilling.” 
0 ‘ 


Third Session, Wednesday Evening, January 31st 


FRANK SHORT 


Contemporary English etcher, aquatinter, and mezzotinter. Born at Lon- 
don, in 1857. As director of the engraving class at South Kensington, he 
has had an influence on the younger generation in the direction of a 
greater certainty of technique. 

“Excellent in pure etching and aquatint, Frank Short holds a unique 
place at the present day for his mezzotints.”—a. M. HIND. 


SHORT, FRANK 


387. Tue Cuurcny at Kampen. Etching. 
\5 « Strange, No. 163. 
Signed in pencil,—‘Frank Short.” 
ay, “Skies a-clearing, sun a-shining, and the Evenson a-chim- 


ff ing.” 


SHORT, FRANK 


388. Moon1icHT on A RIvER (Lucerne). Mezzotint. 
ed Strange, No. 207. 
a Signed on plate, and in pencil,—“Frank Short.”  En- 
) graved in 1896, after an unpublished drawing of 'Turner’s 


14 for the “Liber Studiorum.”’ 


SHORT, FRANK 


389. MOUNDS Ramscate. Mezzotint. 
(d«# Strange, No. 252. 
'\ . Signed in pencil,—Frank Short.” 


C. P. SLOCOMBE 
Contemporary English etcher, chiefly of landscape subjects. He etched 
several noteworthy California scenes. 


SLOCOMBE, C. P. 


390., SUNSHINE AFTER Rain, Kenstneron GarpEens. Etching. 


{¥7 FINE IMPRESSION. 
° From the collection of Sir William Drake. 


SOIRON, 


391. 


SOIRON, 


392. 


Third Session, Wednesday Evening, January, 31st 


I. D. SOIRON 
English engraver who flourished in London about 1790; associate of Gaugain. 


Hop), 


A Tra GarpEn. Stipple engraving. 
After Morland. Proor cut to oval engraved surface, with 


nO. complete margin and lettering added. 


nion piece to,— ‘St. James Park. 
Companion p Noha ike ae Park.” 


F. D. 


St. JAMEs Park. Stipple engraving. 
7 After Morland. Proor cut to oval engraved surface, 


0" with complete margin and lettering added. 


STRANG, 


393. 


Companion piece to,—*“*A T'ea Garden.” 


WILLIAM STRANG 


Contemporary Scotch painter and etcher, born at Dumbarton in 1859 and 
living in London. Pupil of Legros. 

“Strang is a Scotsman. That devotion to the weirdness and the uncanny 
which is a note of the full Celtic temperament, is shown amazingly in 
his selection of subject.”—FrrEDERICK WEDMORE. 


WILLIAM 


Portrait or Krerine. Etching. 


np “ Etched from life. Signed in pencil,—‘Wm. Strang 


JOSEPH MALLORD WILLIAM TURNER 


TURNER, 
394. 


. ® 


Celebrated English painter, born 1775; died 1851. 

“The ‘Liber Studiorum’ was intended by Turner from the first to be a 
series, not of sketches, but of fully finished pictures; and these pictures 
were to illustrate his whole range of powers, and to embrace every, sort 
of subject of which he considered himself master . . . The ‘Liber Stu- 
diorum’ came forth a truly monumental work, taking rank with the highest 
productions of Turner’s genius.”—w. G. RAWLINSON. 


JOSEPH MALLORD WILLIAM 


JUNCTION OF SEVERN AND Wye. Etching and Mezzotint. 

y Rawlinson, No. 28. 
Signed on the plate,—“Drawn, Etched, and Engraved by 
J. M. W. Turner Esq., R. A.” SEconp state, before the 
dot in the letter “P.” BraAuTIFUL IMPRESSION, IN PER- 
FECT CONDITION. 


“One of the most beautiful of the Liber subjects. Fine im- 
pressions have a certain rare bloom on them—if I may use the word. 
They seem to recall the indescribable bright freshness one has some- 
times seen over a landscape on a June morning.”—w. J. RAWLISON. 


U 


Third Session, Wednesday Evening, January 31st 


TURNER, JOSEPH MALLORD WILLIAM : 


395. Dumparton Rock. Etching and Mezzotint. 

Ty Rawlinson, No. 75. 

2 Drawn by Turner and engraved in mezzotint by Thomas 
Lupton. Unpusiisnep puate. Nort iy THE Liser Stupr- 


oruM. Lettered impression. 


“One of the most delicate and charming distances ever etched.”— 
P. G. HAMERTON. 


? 


CORNELIS VAN DALEN 


Engraver at Antwerp. Born about 1620. Pupil of his father and Cor- 
nelis Visscher. 


VAN DALEN, CORNELIS 


396. Apmirat Van Tromp. Line-engraving. 
Engraved after the painting by I. Livus. Signed on the 
plate,—‘C. van Dalen sculpsit.” Frnt CLEAR IMPRESSION 
5 IN PERFECT CONDITION. 


RQ 
/ *) 


h 
3 2 
ANTON VAN DYCK 


Celebrated Flemish painter and etcher. Born at Antwerp in 1599; died 
at London in 1641. 

“Van Dyck stands out as the solitary great etcher of the Rubens School. 
Portrait-etching had scarcely had an existence before his time, and in his 
work it suddenly appears at the highest point ever reached in the art.”— 
A. M. HIND. ; 


VAN DYCK, ANTON 
397. Franciscus Francxen. Etching. 
© Wibiral, No. 6. 
Signed in the lower left corner of the plate,-—‘Ant. van 


Dyck fecit aqua forti.” Printed on paper water-marked 
with the Foolscap. 


LUCAS VAN LEYDEN 


Born in Leyden in 1494; died in 1533. His engravings rank with those of 
Marc Antonio and Albert Diirer. 


VAN LEYDEN, LUCAS 


398. St. Jerome. Line-engraving. 
{ , Bartsch, No. 114. 


‘ 


/ N ‘ty Signed on the plate with the initial—‘L. 1521.” The 


print has been laid down to mend a tear. 


Third Session, Wednesday Evening, January, 31st 


EVERT VAN MUYDEN 


Contemporary Swiss painter and etcher. Born at Albano, near Rome, 
of Swiss parents in 1853. He studied painting with his father and with 
Gerome. 

“Van Muyden has both the mental and technical qualities necessary in 
the production of a real work of art and he has them in a high degree. 
Drawing is the foundation of the graphic arts and in this van Muyden 
is a master.”—ATHERTON CURTIS. 


VAN MUYDEN, EVERT 


399. 


Cat Seatep. Etching. 


\7 Cutis, No. 8. 


Signed on the plate, and in pencil,—‘E. van Muyden.” 
First state. 


VAN MUYDEN, EVERT 


400. 


0% 


Lion on a Mountain. Etching. 

_ Curtis, No. 284. 

© Etched in 1893. Signed on the plate, and in pencil,— 
“E. van Muyden.” First stare FOUR PROOFS ONLY. 


ADRIAEN VAN OSTADE 


Dutch painter and etcher. Born at Haarlem in 1610; died there in 1685. 
Studied with Frans Hals and was influenced by Rembrandt. 

“Ostade treats the technic of etching in a curious painter-like manner. 
He avoids the distinct line and the definite contour, he expresses the 
modelling with masses of uneven little strokes and shows his figure, well 
lighted against a dark background.”—xristetirr, in “Kiipferstich und 
Holzschnitt.” 


VAN OSTADE, ADRIAEN 


401. 


Ve 


Baxer Buiowine His Horn. Etching. 
Bartsch, No. 7. 
Signed on the plate,—“4 v Ostade.” 


VAN OSTADE, ADRIAEN 


402 
be 


VAN OST 
403. 


Tue Ancier. Etching. 
Bartsch, No. 26. 
Signed on the plate,—“‘A. v. O. f.”” Fair impression. 


ADE, ADRIAEN 
Tue Two Gossirs. Etching. 


¢ / Bartsch, No. 40. 


Signed on the plate,—“A v Ostade.” Late state. 


Third Session, Wednesday Evening, January 31st 
ER ee ABS ene ee 


VAN OSTADE, ADRIAEN 


404. La Five sur ra Tremtte. Etching. 

0 Bartsch, No. 47. 
ee ; Signed near the bottom of the plate, 
y- From the collection of Ch. Favet. 


“A. Ostade.” 


JAN JORIS VAN VLIET 


Dutch etcher. Born about 1610. He was a pupil of Rembrandt. He 
flourished at Delft and Leyden from 1631 to 1635. 


VAN VLIET, JAN JORIS 


405. Sr. Jerome Reapinc. Etching. 
v7 Bartsch, No. 14. 
I “Signed in the lower left corner of the plate-—“J. Van 
| Vliet fectt.’ First sTATE BEFORE THE ADDRESS OF Vis- 
") SCHER. 
From the collections of Pierre Mariette and F. Debois. 


GEORGE VERTUE 


English historical engraver and mezzotinter. Born, 1684; died at London, 
1756. Vertue devoted his life to antiquarian research. 


VERTUE, GEORGE 


406. Francis Beaumont. Line-engraving. 
vw Engraved after the painting in possession of the Earl of 
VV Dorset. Signed on the plate,—‘Geo. Vertue sculp. 1729.” 
/ The best portrait of the English poet and playwright. 


JAN VISSCHER 


Dutch engraver. Brother of Cornelis Visscher. Born at Amsterdam in 
1636, where he lived in 1692. 


VISSCHER, JAN 


407. ApmiraL ABRAHAM VAN DER Hvutst. Laine-engraving. 

G27 Wessely, No. 8. 

) 0 é Signed on the plate-—“Jan de Visscher sculpsit.” VERY 
FINE IMPRESSION IN PERFECT CONDITION. 


Third Session, Wednesday Evening, January, 31st 
eee ee een 


VISSCHER, JAN 


408. La Danse A La Porte v’UN Cazarer. Line-engraving. 
pb, Engraved after the painting by Adriaen van Ostade. 
| & Signed on the lower margin,—“Joan de Visscher fects 
yi BRILLIANT IMPRESSION. 


/ 
3 


HANS VON VOLKMANN 


Contemporary German etcher. Born in 1860. Lives at Karlsruhe. 


VON VOLKMANN, HANS 


409. Stirutes Lanp. Lithograph in colors. 
y® Signed in pencil,—‘Hans v. Volkmann.” Printed IN 
‘ “ _ COLORS ON BLUE PAPER. 


WILLIAM WARD 


Born in London in 1766. He became pupil and assistant of J. R. Smith, 
and engraved many of the pictures of his brother-in-law, George Mor- 
land. He died in London, 1826. 


WARD, WILLIAM 


410. A Youne Lapy Encovracine THE Low Comepian. Mezzo- 
tint. 
After Northcote. Prinrrep tn coors, and retouched by 
hand. StrppLeD LETTER proor. Trimmed slightly in- 
: nf J side plate-mark. Print somewhat battered, with several 
f ie OM mended places. 
y “\; 


Ly 


CADWALLADER WASHBURN 


Contemporary American painter and etcher. Much of his work was done 
in Mexico. 


WASHBURN, CADWALLADER 


411. Casa Creccuino, Venice. Etching. 
1% - Signed in_ pencil,—‘Cadwallader Washburn.” Mopen 
PROOF FOR THE PRINTER. 


~ 


- 


Ce 


ran 


Third Session, Wednesday Evening, January 31st 
rl ite ic Pn GION CREAR AT IN Ee 


WASHBURN, CADWALLADER 


412. Casa Ceccuino, Venice. Etching. 


yi Signed in pencil,—‘‘Cadwallader W ashburn.” PRoo¥F ON 


| os4 


JAPAN PAPER. 


ANTON WATERLOO 


“Anton Waterloo, painter and engraver, was born at Lille in 1609 or 
1610. He seems to have spent his time mostly between Amsterdam, Leese- 
warden, and Utrecht, paying an occasional visit to his native city. It is 


- known that he was alive in 1676.”—sryan,—“Dictionary of Painters & 


Engravers.” 


WATERLOO, ANTON 
413. Tue Water Mitz. Etching. 


O Bartsch, No. 119. 


v 
NM “ — Signed on the lower right corner of the plate,—‘A. Water- 


loo fectt.” 


CHARLES J. WATSON 


Contemporary English etcher. Lived at Norwich and London. 

“The work of Mr. Watson is nearly always absolutely sturdy and sterling. 
It has tended, too, to become delicate .. . His individuality has to be 
sought for in the soundness of his technique and in the ripe judgment 
which he shows in treating subjects, which at least are true etcher’s 
subjects.”—FREDERICK WEDMORE. 


WATSON, CHARLES J. 


414. Cuartres. Etching. 


t Engraved in 1890. Signed on the plate, and in pencil,— 


Charles J. Watson.” Impression printed by the famous 
master printer Frederick Goulding and so signed by him in 
pencil,—“F'. Goulding imp.” 100 PROOFS PRINTED. 


WATSON, CHARLES J. 
415. Tur Mitr. Etching. 


\\ 


vw Etched in 1904. Signed on the plate, and in pencil,— 
“Charles J. Watson.” 


Third Session, Wednesday Evening, January, 31st 
a MRSS AES SSSA ISS mre i alc cata ora 


JAMES ABBOTT McNEILL WHISTLER 


Celebrated American painter and etcher. Born in Lowell, Mass., in 1834, 
died at London in 1903. 

“With the master-etchers of the world—Meryon’s equal in some respects, 
and, in some respects, Rembrandt’s—there stands James Whistler. Con- 
noisseurs in France and England, in America, Holland, Bavaria, concede 
this now.”—FREDERICK WEDMORE. 

“All his work is alike perfect. It has only been produced under different 
circumstances and is an attempt to render different effects or situations. 
Therefore the methods vary, but the results are always the same—great. 
The greatest, most perfect, as a whole, that any etcher has ever accom- 
plished.”—sosrepH PENNELL. 


y — > 


WHISTLER, JAMES ABBOTT McNEILL I, 


416. Lirrte Arruur. Etching. 
“oo Kennedy, No. 9. 
" One of the French Set published in 1858. Signed on the 


plate,—“ Whistler.” Fine EARLY IMPRESSION, on Inp1IA 


Sd. PAPER, with original margins. 
ii This and the twelve following etchings [Numbers 416-428, 
Wil inclusive| constitute the “French Set,’’ published in 1858. 


So PERFECT A SET, COMPLETE IN NUMBER, AND OF THE FIRST 
PRINTING, IS NOW EXCEEDINGLY RARE AND ALMOST IMPOS- 
SIBLE TO PROCURE. 


WHISTLER, JAMES ABBOTT McNEILL 


417. Annie Stanpine. Etching. 
oe Kennedy, No. 10. 
a One of the French Set published in 1858. Signed on the 
S plate,—‘Whistler.’” Fourru strate before additional 
work on the legs. Frye EARLY IMPRESSION ON INDIA PAPER, 
with original margins. 


WHISTLER, JAMES ABBOTT McNEILL 


418. La Mere Gétrarp. Etching. 
ag Kennedy, No. 11. 
One of the French Set published in 1858. Signed on the 
a plate,—“‘Whistler.”” FINE EARLY IMPRESSION ON INDIA 
PAPER, with original margins. 


ae 


Third Session, Wednesday Evening, January 31st 
A 


WHISTLER, JAMES ABBOTT McNEILL 


419. Fumerre. Etching. 


7 
56 
Y 


Kennedy, No. 13. 


One of the French Set published in 1858. Signed on the 
plate-—‘Whistler.” Finr EARLY IMPRESSION ON Inp1a 
PAPER, with original margins. 


“I remember one especially—they called her the tigresse. She 
sat to Whistler several times with her curly hair down her back. 
She had a good voice and I often thought she had suggested Trilby 
to Du Maurier. . . . She was the model for Fumette, Eloise, a little 
modiste, who knew de Musset by heart and would recite his verses 
to Whistler, and who one day in a rage tore up, not his etchings, 
as Mr. Wedmore says, but the Gavarni-like drawings. Whistler was 
then living in the Rue St. Sulpice, and when he came home, to find 
the pieces piled high on his table, he wept over the ruin, literally 
wept, according to Oulevey.’—1rvuKe tones, in “The Life of 
Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 


420. La Reramevse. Etching. 


c* 
eo ay 
fe 
a 


Kennedy, No. 14. 

One of the French Set published in 1858. Signed on the 
plate,—‘ Whistler.” Finz EARLY IMPRESSION ON InpIA 
PAPER, With original margins. 


WHISTLER, JAMES ABBOTT McNEILL 


421. Ew Prern Soret. Etching. 


Kennedy, No. 15. . 

One of the French Set published in 1858. Signed on the 
plate,—‘ Whistler.” Fixe EARLY IMPRESSION ON Inp1A 
PAPER, with original margins. 


WHISTLER, JAMES ABBOTT McNEILL 


422. Liverpun. Etching. 


‘'Y 


J 


a 


by Kennedy, No. 16. 


One of the French Set published in 1858. Signed on the 
plate,—‘J. Whistler.” Frve arty Proor on Inpra 
PAPER, With original margins. : 


Lhird Session, Wednesday Evening, January, 31st 


WHISTLER, JAMES ABBOTT McNEILL 
423. An Unsare Tenement. Etching. 


A: 


oo Kennedy, No. 17. 


ks 


One of the French Set published in 1858. Signed on the 
plate,—‘ Whistler.” Tuirp srare before the address of 
Delatre was effaced. Fine rarity tmpressions on Inpra 
PAPER, with original margins. 

“The Unsafe Tenement is a splendid etching, in unfaltering decision 
of line and in grand massing of light and shade, which has not 


destroyed the Dutch-like finish of parts, such as the stable fork 
with its shadow thrown on the wall.”—serNHARD SICKERT. 


WHISTLER, JAMES ABBOTT McNEILL 


424, A STREET In SaverneE. Etching. 
,&. Kennedy, No. 19. 


per 


One of the French Set published in 1858. Unsigned. 
Fovurtu state before the address of Delatre was effaced. 
FINE EARLY IMPRESSION ON Inpra paper, with original 
margins. 


“There are in the French set, prints, like the night scene in the 
Alsatian village called A Street at Saverne, which are as good as 
any that, came after, and if looked at carefully the same arrange- 
ment of lines, the same seeking for the same effects, will be found 
there as in the Venetian plates. The plate might be called the 
first of the Nocturnes.”—sosErHm PENNELI. 


WHISTLER, JAMES ABBOTT McNEILL 


425. La Vieirxe Aux Loaues. Etching. 


05 
0 ; 


4) 


a 


Kennedy, No. 21. 

One of the French Set published in 1858. Signed on the 
plate,—‘ Whistler.” Stconp strate before the address of 
Delatre was effaced. Frne EARLY IMPRESSION ON INDIA 
PAPER, with original margins. 


WHISTLER, JAMES ABBOTT McNEILL 


426. La Marcuanpe pE Mourarpe. Etching. 


aN 


f 


Kennedy, No. 22. 

One of the French Set published in 1858. Signed on the 
plate,—‘Whistler.”’ Tuirp state before a line was 
drawn through the name and address of Deldtre. Fine 
EARLY IMPRESSION ON InpIA PAPER, with original margins. 


Third Session, Wednesday Evening, January 3ist 


WHISTLER, JAMES ABBOTT McNEILL ¢ 
427. Tur Kitcnuen. Etching. Jyh @ 


Kennedy, No. 24. 
One of the French Set published in 1858. Signed on the 
plate-—‘ Whistler.” Srconp stave before additional re- 
touches. BEAUTIFUL EARLY IMPRESSION ON INDIA PAPER, 
with original margins. 
On a pencil drawing of this subject in the Freer collection Whistler 
wrote: “Cuisine & Lutzelbourg.” Lutzelbourg is now Luxembourg. 
“There are, as, for instance, in those dark alleyways of the Venetian 
set, or The Kitchen of the French series, passages of luminous shadow 


which Rembrandt never approached in the Burgomaster Six, or in any 
similar subject.”—JsosEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 


428. Tirte to THE Frencu Ser. Etching. 


Jb 


“ Kennedy, No. 25. 


One of the French Set published in 1858. Signed on the 
plate with the words,—‘Douze Eaux Fortes d apres 
Nature, par James Whistler,” and dedicated to “Mon viel 
Ami Seymour Haden.” On iy state. FINE EARLY IM- 
PRESSION ON INDIA PAPER, With original margin. 


WHISTLER, JAMES ABBOTT McNEILL 
429, Lirrte Artuur. Etching. 


ls oye 


“ 


Kennedy, No. 9. 
Signed on the plate to the left,—* Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 


430. La Mére Gérarp. Etching. 


~ 


hy 


Kennedy, No. 11. 
Signed on the plate,—‘Whistler.” FrxE IMPRESSION. 


“An old lady, who is said to have written poetry, and, possibly, in 
consequence, came down in the world, and was forced to sell violets at 
a gate of the Luxembourg Gardens. Whistler painted and etched 


her several times, and of her, in the Latin Quarter, endless stories 
were told by him.’—sosEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 
431. Fumerre. Etching. 


Kc y 6 


VY Kennedy, No. 138. 
Signed in the lower right corner of the plate,—‘ Whistler.” 


See No. 419. 


Third Session, Wednesday Evening, January, 31st 


WHISTLER, JAMES ABBOTT McNEILL 
432. La Rerameuse. Etching. 
nes Kennedy, No. 14. 
iY my Signed in the lower right corner of the plate,—“ Whistler.” 
WHISTLER, JAMES ABBOTT McNEILL 


433. Liverpun. Etching. 
a) S yo Kennedy, No. 16. 
¥)\ ~ Signed in the lower left corner of the plate,—‘J. Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 


434, La MarcHanpeE dE Mourarpe. Etching. 
T 
a Kennedy, No. 22. 
(0 y Signed on the pavement,—‘Whistler.” PRroor PRINTED 
WITH BROWNISH INK, ON THIN JAPAN PAPER. 


WHISTLER, JAMES ABBOTT McNEILL 


| K° 435. La Marcuanne vE Movurarpe. Etching. 
ce», Kennedy, No. 22. 
» Signed on the pavement,—‘ Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 


436. Tue Kircuen. Etching. 


¢ 4 Kennedy, No. 24. 
0 


\0 Signed on the plate,—“Whistler.”” Srconp srare, before 
additional work to the left. SuprerB IMPRESSION ON HEAVY 
7 ( JAPAN PAPER. OF THE GREATEST RARITY. 
eg From a collection unknown to Fagan. 

hg . “Whistler, with a nature essentially aristocratic, . . . yet accepted 


the very things that seem most commonplace to commonplace people, 
and showed us their interest. So great an artist—the fantastic 
beauty of Venice and the scaffolding for the ‘Savoy’ appealed to 
him together. Understanding each, with each he knew how to deal. 
And that is one of the reasons why San Biagio, The Garden, and 
The Kitchen, lie unabashed forever beside the noblest Rembrandts— 
lie by the Lutma and the Clement de Jonghe, lie by the Landscape 
with an Obelisk and by The Goldweigher’s Field.”’—vrreverick 
WEDMORE. 


[See Reproduction | 


JAMES ABBOTT McNEILL WHISTLER 


Tue Kircnuen.—Kennedy, No. 24 
[See No. 436 in this catalogue | 


Third Session, Wednesday Evening, January, 31st 
eee eee Cr ar ee 2 ee ee 


WHISTLER, JAMES ABBOTT McNEILL 


437. Tue Wine Guass. Etching. 
yo Kennedy, No. 27. 
Signed in the lower left corner of the plate,—‘‘ Whistler.” 
PROOF ON JAPAN PAPER. 
a) “The exquisite still-life little piece, “The Wine Glass,” a per- 
formance in which, for once and for once only, Whistler with a 
plate as notable as the Shell of Rembrandt or the Muffs of Hollar, 


tried to rival, and succeeded in rivalling, the achievement in painting 
of De Heym.”—rrepvertcK wepmMore—“Whistler and Others.” 


WHISTLER, JAMES ABBOTT McNEILL 


438. SkymMour Sreatep. Etching. 
ey” r % Kennedy, No. 29. 
. Unsigned. 


WHISTLER, JAMES ABBOTT McNEILL 


439. Seymour Sranpinc Unper a Tree. Etching. 
0 0 Kennedy, No. 31. 
\by Signed in the lower right corner of plate,—‘Whistler.”’ 
A portrait of Sir Seymour Haden’s son and Whistler’s 
nephew, Seymour Haden, Jr. 


WHISTLER, JAMES ABBOTT McNEILL 


440. Seymour Stanpinc Unper a Tree. Etching. 
hy, 4 Kennedy, No. 81. 
y P Signed in the lower right corner of the plate,—‘ Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 


441. Reapine py Lampuicut. Etching. 
Kennedy, No. 32. 
4 4 Signed on the table-—‘“J. Whistler.’ PRroor PRINTED 
yp WITH BROWNISH INK ON JAPAN PAPER. 
A portrait of Lady Haden, Whistler’s half-sister. There 
is an etching by Haden of the same subject done at the 
same time. 


Third Session, Wednesday Evening, January 31st 


WHISTLER, JAMES ABBOTT McNEILL 


442. GrEENWwicH Park. Etching. 
U7, Kennedy, No. 35. 
| Signed in the lower left corner of the plate,— Whistler.” 
ProoF ON JAPAN PAPER. 


“Qne of the very few landscapes he either etched or painted. 
a ) Landscape did not appeal to him. Had it, however, his work would ~ 
have been just as distinguished as his portraits. He always said 
that there was no such thing as a landscape or a portrait painter. 
A man can paint anything if he can paint at all.”—JsosEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 
443, LanpscapE wiry THE Horse. Etching. 
( t ay Kennedy, No. 36. 
/ ee Signed on the plate,—* Whistler 1859.” 


WHISTLER, JAMES ABBOTT McNEILL 


444. Limenouse. Etching. 
,» Kennedy, No. 40. 

V |0 Signed on the plate,—‘‘ Whistler 1859.” Proor TROM THE 
DESTROYED PLATE. 


WHISTLER, JAMES ABBOTT McNEILL 


445. BirtincscaTe. Etching. 
,\ Kennedy, No. 47, 


(VU >> Signed on the plate,—“ Whistler 1859.” 

> “The solidity of the buildings introduced into this plate—the 
clock-tower and the houses on the quay—is a rare achievement in 
etching . . . The strength of their realization lends delicacy to the 


thin-masted fishing boats with their yet thinner lines of cordage, 
and to the distant bridge and the gray mist of London, and to the 
faint clouds of the sky.”—FrrepERIcK wEDMorE—“Four Masters of 
Etching.” 


WHISTLER, JAMES ABBOTT McNEILL 


7 446. Becauet. Etching. 
yy , Kennedy, No. 52. 
é . 
N° mye Unsigned. Furn rich PROOF, PRINTED ON THIN JAPAN 
S PAPER. BEAUTIFUL IMPRESSION. 
> Seymour Haden, who certainly could be trusted not to overpraise 


Whistler’s work, said of this plate: “Rembrandt never did anything 
finer.” 


Third Session, Wednesday Evening, January, 31st 


WHISTLER, JAMES ABBOTT McNEILL 


447, Venus. Etching. 
jw Kennedy, No. 59. 


ea 2 Signed in the lower left corner of the plate-—“Whistler 
% 0 L359.” 


WHISTLER, JAMES ABBOTT McNEILL 


448. RoruernirHe. Etching. 
Yo 7 Kennedy, No. 66. 
0 Signed on the plate,—“Whistler, 1860.” Fu1Li ricu 
4 J i PROOF, ON THIN JAPAN PAPER. SUPERB IMPRESSION. 


“This plate was made on the balcony of the Angel Inn, still stand- 
yy ing on the south side of the river at Cherry Gardens. Rotherhithe 
is in the extreme distance. From this balcony also, the oils, Wapping, 
and The Thames in Ice, were painted. A scratch across the sky is 
in some prints. Whistler told me this was caused by a brick from 
the chimney being repaired falling behind him and making him jump 
so that he scratched the plate with his needle from top to bottom.”— 
JOSEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 


449. Tue Force. Etching. 
0 - Y Kennedy, No. 68. 
) One of the Thames Set. Signed on the plate-—“‘ Whistler, 


1866.” IwrrEssIOon ON JAPAN PAPER. Framed. 


WHISTLER, JAMES ABBOTT McNEILL 


450. Two Sures. Etching. 

Kennedy, No. 148. 

Signed on the plate with the “Butterfly.” Fixe mvpreEssion 
IN PERFECT CONDITION. Printed by F. Goulding, and so 
signed by him in pencil,—“F’. Goulding imp.” 

From the printer’s private collection. 


WHISTLER, JAMES ABBOTT McNEILL 


451. Lirrte Smirurietp. Etching. 
a y, Kennedy, No. 160. 
30 Unsigned. Onty state. Proor on oxp Inpia Paper. 


Two small tears mended, one in the printed surface, and 
one in the margin. 


Third Session, Wednesday Evening, January 31st 


WHISTLER, JAMES ABBOTT McNEILL 


452. Apam anp Eve Tavern, Oup Cuetsea. Etching. 
vy Kennedy, No. 175. 
Signed on the plate with the “Butterfly.” PRroor PRINTED 
on WHATMAN PAPER. 


eS 


WHISTLER, JAMES ABBOTT McNEILL 


453. BarrersEA Briper. Etching. 
/ 60 & Kennedy, No. 177. . 
' K Signed on the plate and in pencil with the “Butterfly.” 
" Firru state. ImpressloN PRINTED BY WHISTLER HIMSELF 
} AND SIGNED ON THE TAB WITH THE “Butterfly imp.” — 


7 


WHISTLER, JAMES ABBOTT McNEILL 


454. Huriincuam. Etching. 
2 4 jg) Kennedy, No. 181. 
rae Signed on the plate and in pencil, with the “Butterfly.” 
FINE IMPRESSION ON OLD DuTCH PAPER. 


WHISTLER, JAMES ABBOTT McNEILL 


455. Tur Breecars. Etching. 
( Aa Kennedy, No. 194. 
& "| Unsigned. Prinrep IN BROWN-BLACK INK, ON HOLLAND 
oe ai ~y\ PAPER. Small spot of glue visible. Framed. 


“After Whistler’s death, 12 or 14 impressions were taken from 
the plate by F. Goulding, that being the number due to The Fine 
Art Society.”—s. G. KENNEDY. . 


WHISTLER, JAMES ABBOTT McNEILL 


456. Nocturne: Pauacres. Etching. 
yg?” Kennedy, No. 202. 
\ Printep By WHISTLER HIMSELF, AND SO SIGNED BY HIM IN 
| PENCIL, WITH THE “Butterfly ump.” ExQuIsITELY BEAU- 


TIFUL IMPRESSION, IN PERFECT CONDITION. 


(3 / “If it was interesting to watch the biting of the plates and the 

\ gradual development of the perfect picture, it was even more fasci- 

/ re nating to see him print them. During this period he depended very 

: greatly upon a painting of printing ink upon the plate to help com- 

is) ty / plete his pictures, especially in the watery foregrounds, of which there 

na were several amongst the Venice set; and it was little short of 

a . marvelous to see how he graduated and softened the ink with the palm 

N ii of his hand. He was accustomed to pull through his plates on the 
press himself, a feat requiring no little strength.”—r. r. way. 


— 


Third Session, Wednesday Evening, January 31st 


WHISTLER, JAMES ABBOTT McNEILL 
457. Lone Lacoon. Etching. 
) . # Kennedy, No. 203. 
) lo Printed by Whistler himself, and so signed by him in pen- 


jv Y cil with the “Butterfly imp.” First stare BEFORE THE 
> S f “Butterfly.” DELICATE IMPRESSION. Small hole in sky, 
yo? mended. .EKramed. 
WHISTLER, JAMES ABBOTT McNEILL 
458. Tyr Riva No. 2. Etching. ae hs fs 
\\0e ' Kennedy, No. 206. v" 
Signed in pencil with the “Butterfly.” Skrconp sTATE. 
O SPLENDID IMPRESSION, PRINTED BY WHISTLER HIMSELF AND 
uN O SIGNED ON THE TAB WITH THE “Butterfly imp.” 
oY? “More than once he was delightful in his joyous admiration of 
} Yj the more important of the Venice etchings, protesting against 


the opinion, still more or less prevalent, which classes these as inferior 

to the Thames etchings. ‘Can’t people see,’ he would say, ‘that my 

etchings show progress all along from the beginning.’ ”’—nHowarp 
| MANSFIELD. 


| [See Reproduction | 
WHISTLER, JAMES ABBOTT McNEILL 
459. Quier Canar. Etching. 
D Kennedy, No. 214. 
jv 4 Printed by Whistler himself and so signed by him in pen- 


> cil, with the “Butterfly imp.” One of the set of “T'wenty 
Sia Etchings” published in 1886. Thirty sets only. Fine 
IMPRESSION. 
WHISTLER, JAMES ABBOTT McNEILL 
460. SaturrE—Dawwn. Etching. 
t / Kennedy, No. 215. 
my) o ASO: SIGNED ON THE PLATE AND IN PENCIL WITH THE ““Butter- 


fly.’ IMPRESSION PRINTED BY WHISTLER HIMSELF AND 
SIGNED BY HIM ON THE TAB WITH THE “Butterfly imp.” 


WHISTLER, JAMES ABBOTT McNEILL 


461. Drury Lane. Etching. 
“ Kennedy, No. 237. 

a ~ One of the series of “TJ'wenty-Sia Etchings’ published by 
the Fine Arts Society in 1886. Signed on the plate with 
the “Butterfly.” On ty stTaTE. FINE IMPRESSION, PRINTED 
IN BROWNISH INK. 


JAMES ABBOTT McNEILL WHISTLER 


Tue Riva No. 2.—Kennedy, No. 206 


: 


—_——_—_ 


Third Session, Wednesday Evening, January, 31st 


WHISTLER, JAMES ABBOTT McNEILL 


462. Recent’s Quaprant. Etching. 
1 i Kennedy, No. 239. 
SIGNED ON THE PLATE AND IN PENCIL WITH THE “Butter- 
fly.” Intermediate state between second and third, with 
the balustrade shaded but before the removal of figures to 
fe the left of the pillar. 

( : IMPRESSION PRINTED BY WHISTLER HIMSELF AND SIGNED ON 

THE TAB WITH THE “Butterfly imp. FINE AND RARE. 


WHISTLER, JAMES ABBOTT McNEILL 


463. Otp CrotHes SHor, Numper 1. Etching. 
" Kennedy, No. 257. | 
A) " ne Signed on the plate with the “Butterfly.” First srare 


( S ~~ before additional work on the doorway. Impression 
trimmed to the plate-line and tab, but not signed in pencil. 
Rare. 


WHISTLER, JAMES ABBOTT McNEILL 


464.. CHANCELLERIE Locues. Etching. 
)6 Kennedy, No. 383. 
Signed on the plate and in pencil with the “Butterfly.” 


/ Fourtu start. Impression printed by Whistler himself 
he : and signed on the tab with the “Butterfly ump.” Fre 
AND RARE. 
‘ 
ay) Nature contains the elements, in color and form, of all pictures, 
\ as the keyboard contains the notes of all music. But the artist 
is born to pick, and choose, and group with science these elements, 


that the result may be beautiful—as the musician gathers his notes 
and forms his chords, until he brings forth from chaos glorious 
harmony. In all that is dainty and lovable he finds hints for his own 
combinations and thus is Nature ever his resource and always at his 
service, and to him is naught refused.”—wuistrer—‘Ten O’Clock.” 


WHISTLER, JAMES ABBOTT McNEILL 


465. St. JAMES STREET—JuUNE, 1878. 
Kennedy, No. 169. 
: From “Vanty Fair,” July 2, 1878. Reproduction, au- 
thorized by Whistler. [Also] 
“A Sympnony.” (Caricature, full length of Mr. Whistler. ) 
By “Spy.” From “Vanity Fair,” July 12, 1878. Prob- 
ably a reproduction. Together, 2 pieces. 


Third Session, Wednesday Evening, January 31st 


WHISTLER, JAMES ABBOTT McNEILL 


466. WristLeR v. Rusxix. Art & Art Critics. Tuirp Eprrron. 
8vo, wrappers, uncut, pp. 20. London, Dec. 24, 1878 


WHISTLER, JAMES ABBOTT McNEILL 


467. Nocrurnes, Marines & CHEvVALET Pieces. Small Collection 
Kindly Lent by Their Owners. 8vo, wrappers, uncut. 


[ London, 1878 | 


First Eprrion, the issue with title as above, and “T/lustrated Lon- 
don News,’ with the “Butterfly” beneath on last page. 


WHISTLER, ‘JAMES ABBOTT McNEILL 


468. Mr. Wuisrier’s “TEN O’Ciock.” First Eprrion. 8vo, 
wrappers, uncut, pp. 31 (page 30, blank). 
London, 1888 


The author’s famous Lecture on Art, with the strange title, 
bestowed upon it, it is said, because- of the fact that it was de- 
livered by the author at the late hour noted, as he did not wish people 
“rushing from their dinners to hear him.” 


WHISTLER, JAMES ABBOTT McNEILL 


469. “Ture Forrnicutty Review,” June, 1888, containing Alger- 
non Charles Swinburne’s contribution: “Mr, Whistler’s 
Lecture on Art.” 8vo, wrappers. [ Excerpt, the portion 
containing the Lecture only. | Philadelphia, 1888 


WHISTLER, JAMES ABBOTT McNEILL 


470. Way (Tuomas R.). Mr. Whistler’s Lithographs. Frontis- 
piece (portrait of Whistler, after a photograph). First 
Epitrron. 8vo, vellum back, and boards, uncut. 


London, 1896 


No. 81 of 140 copies printed, EACH ONE AUTOGRAPHED BY THE 
AUTHOR. 


WHISTLER, JAMES ABBOTT McNEILL 
471. Even versus Wuistrter. The Baronet & the Butterfly. A 


Valentine with a Verdict. S8vo, cloth back and boards, | 


uncut. New York, 1899 


| 


Third Session, Wednesday Evening, January, 31st 
Sr eee ses Fw, aero EN EEL Tae 


WHISTLER, JAMES ABBOTT McNEILL 


‘472, Wepmore (Frepericx). Whistler’s Ktchings. A Study and 
a Catalogue. Second Edition, revised and_ enlarged. 
12mo, cloth, uncut, paper label. London, 1899 


No. 80 of 100 copies printed. It contains the inserted slip announc- 
ing that the publisher has for sale copies of Mr. Wedmore’s work 
on Meryon. 


WHISTLER, JAMES ABBOTT McNEILL 


473. THe GENTLE Art or Maxine Enemies. Square 8vo, cloth 
back and boards, uncut. 
New York: John W. Lovell Co., 1890 


WHISTLER, JAMES ABBOTT McNEILL 


474. |CaTaLocuE or AN] Exuisrrion or Ercuines, by J. McNeill 
Whistler. Etched portrait of Whistler, after himself, 
original issued in 1859. 8vo, wrappers, uncut. [| Preface, 
by Frederick Wedmore.| pp. 11 ++ pp. 16. 

London, 1908 


WHISTLER, JAMES ABBOTT McNEILL 


a1 Oejia.(C. J.).| The Peacock Room, Painted for Mr. F. R. 
Leyland, by James McNeill Whistler, removed in its en- 
tirety from the late owner’s residence & exhibited at Messrs. 
Obach’s Galleries, at 168 New Bond Street, London, W. 
Illustrated. 4to, wrappers, uncut. 

[| London] 1904 


Illustrated newspaper account of the “Room” laid in. 


WHISTLER, JAMES ABBOTT McNEILL 
476. |CaraLtocuE or A] Memoria Exuipirion of the Works of 
J. McNeill Whistler,—Etchings, Dry Points, & Litho- 
graphs. 8vo, wrappers, uncut, pp. 33. 
Boston, 1904 


WHISTLER, JAMES ABBOTT McNEILL 
477. |CaraLtocuE oF A] Memortat Exuisirion of the Works of 
J. McNeill Whistler,—Oil Paintings, Water Colors, Pas- 
tels, Drawings. 8vo, wrappers, uncut, pp. 24. 
Boston, 1904 


Third Session, Wednesday Evening, January 31st 


WHISTLER, JAMES ABBOTT McNEILL 
478. Parntincs, Drawines, Ercuines & LirnocrapHus [| Catalogue 
of a] Memorial Exhibition . . . held under the auspices 
of [The International Society of Sculptors, Painters & 
Gravers|. Fourru Eprrion. 8vo, wrappers, pp. 126. B 
London, 1906— 4 
WHISTLER, JAMES ABBOTT McNEILL 
479. CATALOGUE oF THE MemorrAL Exursition of the Works of 
the late James McNeill Whistler, . . . in the New Gal- 
lery, Regent Street, London. Portrait and numerous fac- 
similes. Royal 8vo, cloth back and boards, gilt top, uncut. 
London, 1905 


Edition de Luxe. Only a small number printed. 


WHISTLER, JAMES ABBOTT McNEILL 


480. Wripr v Wuistier, being an acrimonious Correspondence on 


Art, between Oscar Wilde and James A. McNeill Whistler. | 7 


First Epirion. pp. 20, 8vo, wrappers, uncut. 


London: Privately printed, 1906 
One of 400 copies printed. 


WHISTLER, JAMES ABBOTT McNEILL 


481. Venice Pasters. First Epirion. pp. 4, 12mo, wrappers, 


uncut. 
[London:] Printed by T. Way, 21, Wellington Street, 
Strand (undated) 


WHISTLER, JAMES ABBOTT McNEILL 


482. “Norers” — “Harmontres” — “Nocturnes.” First Epirion. — 
pp. 8, 8vo, wrappers, uncut. 
J. McNeill Whistler, Tite Street. Chelsea (undated) 


JEROME WIERIX 


Engraver. Born at Antwerp or Amsterdam in 1551; died in 1619. He is 
supposed to have learned the art of engraving from his brother Jan, 
whose style he followed so exactly that it is difficult to distinguish their 
works. 


WIERIX, JEROME 
483. VirciIn and Cuinp. Laine-engraving. 
Signed on the margin of the plate,—“Hieronymns Wierix 
fecit et Hacudit.” 


Third Session, Wednesday Kvening, January, 31st 
Inne COS KS A ne Oe ee 


JEAN GEORGES WILLE 


Born at Kénigsberg in 1715; died at Paris in 1808. He first worked 
with a gunsmith. He went to Paris and worked with Daullé who signed 
many of the plates which Wille actually engraved. Wille soon achieved 
fame on his own account, and engraved portraits after the leading French 
portrait painters. Later in life he devoted himself more to the genre 
subjects of the Dutch School. 


WILLE, JEAN GEORGES 


484. Le Concert pe Famitiz. Line-engraving. 


Le Blanc, No. 54. 

Engraved after the painting by Schalken. First srarre, 
BEFORE LETTERS. FINE IMPRESSION. 

PreseNTATION Proor from Wille to his pupil the engraver 
Aliamet. 

According to his Journal it took Wille two years and 
four months to engrave this plate. 


WILLE, JEAN GEORGES 


‘ 


485. Mairresse p’Ecore. Line-engraving, 


Le Blanc, No. 70. 
Engraved after the painting of P. A. Wille. Signed on 
the plate-—“Gravé par J. G. Wille.” 


W. WITSEN 


Contemporary Dutch etcher. He has received many medals and honors, 
among them the Gold Medal of merit “Arti et Amicitiae Amsterdam 
1910,” given by H. M. the Queen. 


WITSEN, W. 


486. Winter Eventnc. Etching with aquatint. 


Van Wisselingh, No. 414. 


Signed in pencil,—‘ Witsen.”’ 
4 ’ 


WILLIAM LIONEL WYLLIE 


Contemporary English etcher. Born, 1851. Has travelled all over the 
world. His etchings are chiefly boating and fishing scenes. 


WYLLIE, WILLIAM LIONEL 


) 


487. CoLcHEsTER Sprat Boats. Original etching. 


Signed in pencil, “W. L. Wyllie.” 


Third Session, Wednesday Evening, January 31st 
romaine earn ise Oa ATE EAE 


PHILIPPE ZILKEN 


Contemporary Dutch etcher. Born in 1857; living at The Hague. 


ZILKEN, PHILIPPE 


488. Provenine Oxen. Etching. 
Etched after the painting by Mauve. Signed on the plate, 
and in pencil,—‘Ph. Zilken a. f.” 


ay ANDERS ZORN 


Swedish painter and etcher. Born at Mora in Delcarlia in 1860. 

“But it is in his etchings that the art of Anders Zorn is seen in its highest 
vigor, creativeness and sureness of hand, whether these etchings be done 
directly from nature or are transcriptions of his masterly paintings. 
Lines apparently scribbled at random, and which might seem to harshly 
gash the copper-plate, result in a whole. which is strong, clear, and vivid, 
and the etchings present pictures expressing the most delicate and fleet- 
ing phases of expression and gesture.” —HENRI MARCEL. 


ZORN, ANDERS 


/ 489. Henry Maravann. Etching. 
hue Delteil, No. 81. 
© Etched in 1893. Signed on the plate, and in pencil,— 
/) u “Zorn. Oniy strate. About 35 impressions. FINE 
i PROOF IN PERFECT CONDITION. VERY RARE. 


4 
: 
: 


ZORN, ANDERS a 


490. La Venus pE La VILLETTE. Etching. 
Delteil, No. 82. 


O Signed in pencil,—‘“Zorn.” PRooF ON CROWN PAPER. 


ee a 


oO 


Slight crease. 


ZORN, ANDERS 


491. Mrs. Porrer Parmer. Etching. } | 
Delteil, No. 105. | 
Signed on the plate, and in pencil,—**Zorn.” PrRoor on 


\ 0 HOLLAND PAPER. 


Third Session, Wednesday Evening, January, 31st 


ZORN, ANDERS 


492. Eveninc—Baicnevuse pr Dos. Etching. 
Delteil, No. 108. 
Etched in 1896. Signed on the plate, and in pencil,— 
“Zorn. SUPERB IMPRESSION ON OLD DuTcH PAPER. OF 
THE UTMOST RARITY. ONE OF THE MOST BEAUTIFUL PROOFS 
EVER PRINTED FROM THE PLATE. 


/ “In its supple grace and vibrant vitality the delicately modulated 
( back of the bending figure of The Bather—Evening is a pantheistic 
0 / hymn to the eternal efflorescence of life. She pauses in the silvery 
twilight before breaking the surface of the mirror-like lake into a 
b ; thousand jewels of refracted light, and she is as much a part of the 
a) enshrouding stillness as the aged rocks on which she stands. Whistler 
/ 0 never did anything more evanescent than the landscape of this plate, 
which is printed in a key as light and airy as the magically executed 
AG 0 lines, that give the softness of the figure’s contours as well as the 
hardness of the rocks and the veiled serenity of distant lake and 

woodland.”—s. NItsEN LAURVIK. 


[ See Frontispiece for Reproduction | 
ZORN, ANDERS 


493. Errer pe Nuir. Etching. 
o Delteil, No. 109. 
o Etched in 1897. Signed on the plate, and in pencil,— 
“Zorn. PROOF PRINTED ON BROWN PAPER. 


ZORN, ANDERS 


494. Mrs. Creventann. Etching. 
Delteil, No. 144. 


O ; Signed on the plate, and in pencil,—‘‘Zorn.”’ 


ZORN, ANDERS 


/ 495. Mure. Maya von Heisne. Etching. 
P Delteil, No. 149. 
a Etched in 1900. Signed on the plate, and in pencil,— 


“Zorn.” Only about 50 or 60 impressions. Fine anp 
VERY RARE. 


ZORN, ANDERS 
496. Tue Guirar Prayer. Etching. 


Delteil, No. 155. 
SO 


y Etched in 1900. Signed on the plate, and in pencil,— 
“Zorn.” 


Third Session, Wednesday Evening, January 31st 


ZORN, ANDERS 
497. Tur New Bartuap. Etching. 


re Delteil, No. 169. 
S Signed on the plate, and in pencil,—‘Zorn.” ProoF 
| PRINTED ON BROWN PAPER. Done in 1908. 


ZORN, ANDERS 


~ / (0 4.98. Mure. Emma Rassmussen. Etching. 
+ 


ry Delteil, No. 182. 
Vv Etched in 1904. Signed on the plate, and in pencil,— 
“Zorn.” ONLY STATE. VERY FINE AND RARE. 


ZORN, ANDERS 
499, Le Viotniste pE Vittace. Etching. 
Delteil, No. 185. 


Etched by Zorn after his own painting of the same title. 
jo Published in the Gazette de Beaux Arts and in a monograph 
L on Zorn’s works by Edouard André. Signed on the lower — 

left corner of the plate,-—“Zorn,” but not signed in pencil. 


ZORN, ANDERS 


500. Arsert Encstrom. Etching. 
Delteil, No. 187. . 
Etched in 1905. Signed on the plate, and in pencil,— 
a “Zorn.” Proor Printep IN Sepia. <A portrait of the 


well-known Swedish writer and humorist. 


ZORN, ANDERS 
501. Dr. Freperick Martin. Etching. 


_O Delteil, No. 209. 
‘Bee Etched in 1907. Signed on the plate, and in pencil,— 
' “Zorn.” 


ZORN, ANDERS 
502. L’Err. Etching. 
Delteil, No. 210. 


) ; | 
id, Signed on the plate, and in pencil,—‘Zorn.”” ONLY STATE. ~ 
eae FINE IMPRESSION. 


\ “In the wonderful L’Eté it is a sculptured little figure, a figure 
firm as bronze, and plump with intact youth—that embodies, repre- 
sents and is a part of the June weather that surrounds her.”— 
FREDERICK WEDMORE. 


Third Session, Wednesday Evening, January, 31st 


ZORN, ANDERS 


5038. CircLEs IN THE Water. Etching. 


/ Delteil, No. 211. 
4 Signed on the plate, and in pencil,—‘Zorn.” Proor on 
r/ CROWN PAPER. ‘THE RARE FIRST PLATE. 


ZORN, ANDERS 
504. Mona. Etching. 


é 
q Not in Delteil. 
Etched in 1911. Signed on the plate, and in pencil,— 
aa “Zorn. BEAUTIFUL IMPRESSION. A portrait of the 


artist’s mother. 


ZORN, ANDERS 
f 205. Braska (Tue Beapre). Etching. 


<> Undescribed by Delteil. 
Vv Etched in 1911. Signed on the plate, and in pencil,— 
“Zorn.” 


ZORN, ANDERS 


506. Srawarp Skerries. Etching. 
Not in Delteil. 
-) Done in 1913. Signed on the plate, and in pencil,— 


“Zorn. FINE IMPRESSION, ON CROWN PAPER. 


ZORN, ANDERS 


507. Crown Princess or SwepEN. Etching. 
0 Not in Delteil. 
Etched in 1914. Signed on the plate, and in pencil,— 
“Zorn. PROOF oN VAN GUELDER PAPER. Done in 1914. 


ZORN, ANDERS 


508. Exim. Etching. 
ES) Undescribed by Delteil. 
0) Etched in 1914. Signed on the plate, and in pencil,— 
“Zorn,” 


ZORN, ANDERS 


509. Dataro. Etching. 
Undescribed by Delteil. os 

( - Etched in 1915. Signed on the plate, and in 

“Zorn.” | é 


an 
ZORN, ANDERS 


510. Ar Praver. Etching. a a 
( 3 Not in Delteil. ; ae eae 
Signed in pencil,—‘“‘Zorn.”’ ‘Slight printing-crack 


* 


\y top. | a 


= 


+ 


AMERICAN ART ASSOCIATI 


THOMAS E. KIRBY, 


AUCTIONEER. 


FOR INHERITANCE TAX 


AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


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Pee ieeoe NI PERSONAL EFFECTS OF EVERY 
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COMPOSITION, PRESSWORK 
AND BINDING BY 


THE GETTY CENTER 
LIBRARY 


” 1917 Jan.29 NeAmdJ c.1 
American /Engravings and etchings 


87-P17738 


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